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The  Connoisseur 

An  Illustrated  Magazine 
For  Collectors 


Edited   by   C.    R.   Grundy 


Vol.  XLIL 

(MAY    AUGUST,    1915) 


LONDON 

Published    by    OTTO    LIMITED,   ai    the 

Editorial   and   Advertisement   Offices   of    I'm    I     woisseur, 

at    Hanover    Buildings,  35-39,  Maddox   Street,   W. 

i9'S 


N 

1 


PRINTED    BY 

BEMROSE    AND    SONS    LTD. 

DERBY    AND    LONDON 


X 


8  0  U  6  3  9 


INDEX 


ARTICLES   AND    NOTES 


PAGE 

American  Art  Sales      ...  ...  ...  ...  ■••      1 75 

Answers  to  Correspondents 63,    127,    190,   255 

(Genealogical  &  Heraldic  1 

'    ;      12s.    256 
Authors. 

Baird,  Edwin  R.     Peasant  Jewellery  of  Holland         91 
Brinton,   Selwvn.     The  Davenham    Collection    of 

English  Eighteenth  Century-  Caricaturists        131 
Cecil,  George.     The  History  of  the  Glove  ...  3 

Clive.    .Mrs.     Kate    Villiers.     Collecting    Antique 

China  and  Pottery  Dogs     214 

Clowes,  Ronald.     Georgian  Mansions  in  Ireland...      14? 
Editor,  The   (C.  R.  Grundy). 

A  Suggestion  for  War  Memorials  ...  ...      235 

War  and  British  Art        195 

Evans,   Joan.     Old  English  Chatelaines  ...  ...      141 

Falkner,    Frank.     A    Loan    Collection    of    Ralph 
Wood  Figures  and  Groups  at  the  Whitworth 
Institute  Galleries,  Manchester       ...  ...        76 

Gray,  W.  E.     On  the  Collecting  of  War  Medals. 

Part   II 27 

Holworthy,    Richard,    F.S.G.     Wills    and    Testa- 
ments ...  ...  ...  ...  ...  ...      I91 

Jackson,  Mrs.  F.  N'evill.     Balloon  Caricatures   ...        > ; 
Macfall,   Haldane. 

Hi'-    Years    of    Mahogany.     Part    XI.        The 

Director  Chippendale   Chair  ...  ...        15 

The  War  and   British   Art.     Part   XII.  ...      202 

Mew,    Egan.     Object-,    of    Chinese     Art    .it     the 

Burlington  Fine  Arts  Club...'  ...  ...      153 

Murdoch,  W.  G.  Blaikie.     Early  Stuart  Portraits       67 

Beckington   Abbey        ...         ...         ...         ...         •••     126 

Blakeslee  Sale.    The     ...         ...         ...         ...         ...      1 

Books   Review  id. 

"American  Fire-marks."     I I5    Harold  E.  Gillii 

ham.  of  Philadelphia  ...         ...         ...     120 

"  Antique  Furniture."      By  Fred  W.   Burgess     ...      213 
"  Artist  and  the  Public,  and  1  >1 1"  1    I      a)  s  on    \i  1 

jecf  I  >)    Kenyon  I  ...  ...        |  I 

••  Cameo  (  olle(  ting."     B3    I  dv  ard  Good 1 

Catalog '     Antique     Furniture.     By    Messrs. 

D,i\  is  &    Son  .   I  td.... 
Catalogue    oi    Drawings    .""l    I  ngravings,    from 

Mr.  F.  K.  Meatyard  188 


Books  Rf  vie  wed — continued. 

Catalogue  of  Messrs.  E.  Parsons  <S   Son-.... 
"  Chats  on  Japanese  Print:-."      By  Arthur  David- 
son  Ficke 
Chats  on  Old   Silver."      By   Arthur  Hayden   ... 
"Chemistry  of  Paints  and   Paintings,  The."     By 

Sir  A.  H.  Church       

"Chinese    Potterv    and    Porcelain"      By     K.    L. 

Hobson,   B.A.  

"Etching:     A   Practical   Treatise."      By   Earl   11. 

Reed 

"Goldsmith   and   the    Young  Couple,  The."     By 

H.  Clifford  Smith.   F.S.A 

"Guide  to  Furniture  Values."      By   Mr.   Herbert 

Cescinsky 
"  How  to  Appreciate  Prints."     By  Frank  Weiten- 

kampf 
"  Index  to  Periodicals  " 
"  Juliette  Iirouet's  Love  Letters  to  Victor  Hugo." 

By  Louis  Guimbard.     Ti  inslal  I 

Theodora  Davidson 
"King's    Ships,    The."     Bv    Commander    II.    S. 

Lecky.     Vol.   Ill 

"Lithography   and   Lithographei  B5     foseph 

Pennell  and  E.  Robins  Pennell     ... 
"  Manor    House    of    Lacolle,    The."      By 

Lighthall,   K.C 

"  Mediaeval     Bedposts     in      Broughton 

Chester,     The."       By     the     Rev. 

John   Timbrell,   M.A. 
"  Memoirs  ol  the  1  >uke  de  Sainl  - 

translation  by   Ii.ni>  is    irkwright. 
Monograph    on    Leonard"    da     \  mi  i's 
I  1    1  By  John  R    I  j  re... 

"  Napoleon  in  Exileat  St.  Helena."     Bj  N01 

"  pia<  e  \.in"     "i   1  :     I         and  Wales."     1 1 

Rev.  James   B.  John  on,   MA,   B.D. 
"  S>  1 1    "I   Mediaeval  I  ngland,  I  he."      B-\     \    1 

I  ,ea<  li  ... 
■■  rreasun      Hunt:     The    Conspirators     in    Con 

stantinople,     1  he."     By    Arthur    I 

Liberty 
1  uni'  1    1  atal  1   ue,   A 
Yeai   Bi » ■  :.  -  il    Vmi  1  ii  an   Etchi         191 
British  Industries  Fair  at  the  Agricultural   Hall     ... 


\V. 


Church. 

\\        I 

Mo 


PAGE 

254 
-41 

[88 
118 

i7 

5 1 

244 

2:4 

242 

242 

119 

[17 

244 

1  20 

243 

4" 

188 

120 

;  1 


1-2 


111 


Index 


PAG] 

<  aricatun  >,  Balloo         B     Mrs.  F.  Nevill  Jackson...       83 
Caricaturists,      English      Eighteenth      Century.     By 

Selwyn   Brinton  ...         ...         ...         ...      131 

i  hinese  Art,  Objei  1    of,  a1  the  Burlington  Fine  Arts 

Club       1 1      Egan    Mew  ...         ...         ...      153 

Coins  and  Medals. 

War    Medals,    On    the   Collecting   of.        Part    II. 

1:,    W     I      Gray        27 

I  ECTIO 

Davenham     Collection     of     English     Eighteenth 

Century  Caricatures.     Y>\    Selwyn   Brinton  i;i 

Sydnej   Collection,  The,  Sale  oi     ...          ...          ...  182 

Crane,    Walter,    The  late          ...          ...          ...          ...  61 

Currenl   Art  Notes        ...          ...          ...    ^2,   121,   176,  245 

{Fo\  d(  tails,  see  under  Exhibitions  and  Galleries.) 

Dunster   Castle...  ...  ...  ...  ...  ...      [69 

Etchings  and   Engravings. 

Balloon  Caricatures.     By  Mrs.  F.  Nevill  Jackson       S3 
Exhibitions  and  Galleries. 

Academy,  Royal.     Second  Notice...  ...  ...      176 

Agnew's,  Messrs.,  Loan  Collection  of  Pictures  by 

British   and   Dutch  Masters,  in  aid  of   the 

British  Red  Cross  Society  ...  ...  ...      252 

Edinburgh  Exhibitions        ...  ...  ...  ...      180 

Glasgow   Exhibitions  ...  ...  ...  ...      1S0 

Goupil   Gallery,   The,    Second   Exhibition    of    the 

London   Group  at     ...  ...  ...  ...        ;r 

Grosvenor  Gallery,  The,  Exhibition  of  the  National 

Portrait  Society  at  ...  ...  ...  ...        54 

Guildhall,   Naval  and  Military   Works  at  the     ...      245 
International  Society  of  Sculptors,  Painters,  and 

('.ravers.   The  ...  ...  ...  ...      179 

Loudon   Group,  The,   Second   Exhibition   of        ...        56 
Miniature  Painters,  Royal  Society  of,  Exhibition 

at    the    Modern    Gallery      ...  ...  ...      251 

National  Portrait  Society,   The,   Exhibition  of  ...        54 
New  English  Art  Club.     Exhibition  at  the  Suffolk 

Stint    1  '.alleries    of    the    Royal    Society    of 

British  Artists  ...  ...  ...  ...      253 

Plate,   British  Regimental.   Exhibition   of,  at  the 

Goldsmiths    and    Silversmiths    Company's 

Galleries,   in  aid  of  the   British  Red  Cross 

Society  ...  ...  ...  ...  •••      182 

Plate,    Old    English,    Exhibition    of,    at    Messrs. 

Garrard's,  in  aid  of  the  British  Red  Cross 

Society  ...  ...  ...  ...  ...      181 

Royal  Academy,  The,  First  Notice  ...  ...      121 

Royal    Institute    of    Painters    in    Water-Colours, 

The,   Exhibition  of  ...  ...  ...  ...        59 

Roval    Society    of    British    Artists,    The,    143rd 

Exhibition  of  ...  ...  ...  ...        55 

Royal  Society  of  Painters  in  Water-Colours,  The, 

164th  Exhibition  of...  ...  ...  ...        52 

Royal  Society  of  Portrait  Painters,  Twenty-fifth 

Exhibition  of,  at  the  Grafton  Galleries  ...      2:2 
Wbitworth    Institute    Galleries,     Manchester.      A 

Loan    Collection    of   Ralph    Wood    Figures 

and   Groups    ...  ...  ...  ...  ...        76 

Furniture. 

(  atalogue   oi    Messrs.   Fraser  cV  Co.  ...  ...  62 

Messrs.  Williamson  &  Cole...         ...  62 

1  hippendale   Chair,     ["he    Director.     Bv   Haldane 

Macfall  ' 15 

French  Furniture,  The  "  Straight  Line"  in        ...  42 


Furniture — continued. 

Mahogany, The Yeai    o)       PartXI.      rheDirector 

Chippendale  Chair.     By  Haldam    Macfall...        15 

Mahogany.   The   Years   of.      Part   XII,      By   Hal- 
dane  Macfall  202 

Glass. 

English  Cut-Glass,   Old       102 

Glove,  The,  History  of.     By  George  Cecil  ...  ...         3 

Ireland,  Georgian  Mansions  in.     By  Ronald  Clowes  145 

Ives  Sale,  The  ...         ...         ...         ...         ...         •■■  17? 

Ivory. 

Horn.  Carved...          ...           ...           ...           ...           ■•■  42 

Powder-Flask 104 

Jewels,   Antique. 

Chatelaines,   Old  English.      By   Joan   Evans        ...      141 
Holland,    Peasant    Jewellery    of.     By    Edwin    K. 

Baird ~        91 

Mansions,  Two  Famous  (Hardwick  and   Eridge)    ...      10; 

National    Gallery,    Report    of    the     Committee  of 

Trustees  of  the          ...          ...          ...  ...      183 

Needlework,   Art.  Royal  School  of    ...          ...  ...      126 

News-bill   announcing    the   Defeat    of    Napoleon  at 

the  Battle  of  Leipzig,  October,    1813  ...      104 


Notes  and  (  Hieries 


5  I  .     I O I  ,     I'll.     221 


Pepys   Family,   Ancestral   Home  of,   at  Cottenham. 

Carribs.  167 

Pictures. 

Stuart     Portraits,     Early.      By     W.     G.     Blaikie 

Murdoch  ..."      67 

Turner.     J.    M.     W.,    R.A.,    A    newly-discovered 

Portrait   of      '      108 

Plate   Notes        45.   Io6 

Pottery  and  Porcelain. 

Artistic  Tableware    ...  ...  ...  ...  ...        61 

Chinese  Pottery   and   Porcelain      ...  ...  ...        37 

Collecting  Antique  China  and  Pottery  Dogs.     By 

Mrs     Kate    Villiers  Clive     ...  ...  ...      214 

Etruscan   Vase.   A   Fine        ...  ...  ...  ...      102 

Lowestoft  teapot     ...         ...         ...         •••         •••      102 

Ralph  Wood  Figures  and  Groups,  Loan  Collection 
of,  at  the  Whitworth  Institute  Galleries, 
Manchester.      By  Frank  Falkner  ...  ...        76 

Wedgwood      126 

Prints.     See  undei  "  Etchings  and  Engravings." 
Provincial  Art  Notes. 

Edinburgh.     The  Diploma  Gallery  ...  ...        60 

Walcot,  Mr.   William,  Works  of     ...        60 
Manchester.     Whitworth   Institute   Galleries.      A 
Loan    Collection    of   Ralph    Wood    Figures 
and   Groups    ...  ...  ...  ...  ...        76 

West  Country,  Antiques  in...  ...  ...  ...      126 

Red  Cross  Sale  at  Christie's,  The     11 1 

(For   details,    set    undei    heading    "  In    the   Sale    • 
Room.") 

Tudor  House,  Leigh,  Surrey 61 

War  and   British  Art.     By  the  Editor  195 

War  Memorials,  A  Suggestion  for.     By  The  Editor  235 
Wills    and    Testaments.       By    Richard    Hohvorthv, 

F.S.G.  191 


///(/c.y 


ILLUSTRATIONS 


Artists  and  Engravers.  page 

Apperley,  O.  Wynne,  R.I.     Playmates 52 

Buck,  Adam.     Portrait  of  a  Lady            47 

Cooper,  Samuel.     Charles  II 19" 

Copley,  John  Singleton,  R.A.     George  John,  Earl 

Spencer           ...         ...          ■  ■  •          •  •  •         •  •  •  185 

Cosway,  Richard,  R.A.     Lady  Jane  Gore            ...  196 

Cruikshank,  George.     Balloon  Caricatures  by     ...  ": 

Edwards,   W.  C.     James  I.  of  Scotland 68 

Gabain,  Ethel.    Lithograph  Portrait  of  Edward  VI. 

After  Holbein            1,"" 

Green,  Valentine.      Jane  Countess  of   Harrington. 

Alter   Sir  J.   Reynolds          1  97 

Gros,  An toine  Jean  Baron.     Napoleon  at  Arcole...  24') 

Grozer,  J.     Design.      After  Sir  Joshua  Reynolds  2 

Guthrie,   James.     The  Velvet  Cloak          177 

Hoppner,    J.,    R.A.     Portrait   of   Mrs.    Robinson 

("  Perdita  ") 2.31 

Hugo,  Victor.     The  Bridge  of  Marne       117 

Humphry,   Ozias.     The  Maid  of  Bath     239 

Janet.     Mary  Queen  of  Scots         77 

Lely,  Sir  Peter. 

Anne  Hyde,  Duchess  of  York 139 

Countess  of  Grammont,  The      ...          ...          ...  35 

Marin.   Louis 

Girl  taking  Coffee '"' 

La   Petite   Fille  an  Chien             151 

Morland,  G. 

St.   James's  Park.      By  F.  de  Soiron 173 

Tea  Garden,   A.      By  F.  de  Soiron      130 

Xorthcote,   J.,   R.A.     The   Alpine  Traveller.      By 

J.    Ward          66 

Pinturrichio.     .Eneas   Sylvius    Piccolomini   before 

James  I.  of  Scotland            ...          ...          ...  69 

Reynolds,   Sir  J. 

David  Garrick       ...          ...          ...          •••          •••  §9 

Delaval,   Sir   Francis    Blake         149 

Design.      By  J.  Grozer 2 

Georgiana  Duchess  of  Devonshire       ...            ii,  163 
Jane  Countess  of   Harrington.      By    Valentine 

Green  ...          ...         ...          ■••         •■•          •••  *97 

Portrait  of  Lady  Skipworth        ...          ...          ...  57 

..    Miss  Theophila  Palmer       231 

Romney,  George.     Portrait  of  the  Hon.   Edward 

Ward '  i' 

Rowlandson,  T. 

Bear  and  thi    Beai   I     ider,    The           1  m 

Chase     I  he '       ' 

Married        ...          ...          ...          ■••          •••          •••  <  ?7 

Return  from  Gretna   Green,    ["he          1 

Unmarried...          ...          ...          ...          •••          ■■•  '  5° 

Woolpack,    I  he      133 

Woolpack  at  Hungerford,  Berk    .    ["he 131 

Russell,     ].       Feeding    1  hii  ki  ns.       B)      P.     \Y. 

Tomkin  

Smith.   J.   R. 

Interior  of  Carlisle  House,  Soho  Square,  The...  201 

Shepherdess,  1  he       Wti  c  S    Wood 1 1  - 

"  What  you  will  '              -•; 

Soiron,   F.  de. 

St.  James's  Park.     After  G.  Morland 173 

Tea  Garden.  A.     After  G.  Morland      130 


Artists  and   Engravers ■-  -continued,  page 

Steuben.     The  1  tea  poll  on 46 

Tollemache,  The   Hon.   Duff.     The  Cha  1  thi 

German  Cruisers  on  January  24th,   ni;...     245 
Tomkins.    P.    W.      Feeding    Chickens       Alter    J. 

Russell  99 

Van  der  Goes   (ascribed  to). 

James  III.   of  Scotland   ...  ...  ...  •••        7° 

Margaret  of  Denmark.  Queen   ot  Scotland        ...        71 
Van  Dyck,   Sir  A 

Earl  of  Bristol  and  the  Earl  of  Bedford.  The...      229 

Lady   Wharton       •••      2  19 

Ward.     J.        The     Alpine    Traveller.        Alter     J. 

Xorthcote,    R.A 

Wildman,  Edmund,  Junior.     Portrait  oi    I    M    W. 

Turner,   R.A.  ...  •■•  •••  •■•      lj; 

Woodford.     S.     The     Shepherd.-,       By      J.      R. 

Smith 193 

Bronze  Lamp  in   Pisa   Cathedral        ...  ...  •■•      238 

Broughton  Church,  Coat  of  Arms  on    Bedpost  at...      119 

Celtic   Bronze  Mirrors  ...  ...  ...  •••  ■■•      j;; 

Chandelier,  French,  Eighteenth  Century      2\; 

Gilded  Wrought-iron       


Engravings. 

Balloon  Caricatures  ...  ...  •••        83,    N 

Dress  Caricatures,    Paris      ... 

Edward  VI.     Lithograph  Portrait  alter  Holbein... 

Genius  starving  in  an   Attic 

Harrington,    Jane    Countess    of.       Bj     V.    Green. 

After  Sir  J.   Reynolds 
James  I.  of  Scotland.     By  W.  C.  Edwards 
Oxford    Castle,    View    of.     Engraving    published 

1809 

Furniture. 
(  hippendale. 
Armchair     ... 

rabl  eted  seat   frame... 
w  ith   slutted   seat 

Cli. hi       1       

"  Dolphin  leg 

'•  rabbi  ti    1        seat    frame... 
Chairs,  Ribband-back      ...         ...         •••  ' ■" 

"  Charterhouse  "  Chairs  ... 
Direi  ti  ir  "   Chair,    Walnut 
"  Frem  h  1  hail  ■  "... 

1  lothii    <  haii  s,   Mahi  1  

Mai .m\      \nnchairs        

Chairs... 

(hair,  with  "  angle  brackel 
"  French  Chair  " 
"  Stuffed  Armi  hail 
Walnut  Chair 
,,        Chairs 

(hair,  «  ith  angle  bra<  kets 
Directoire  Se<  re1  lire 
I  mpire  I  iresi  ing  'I  able 

Louis  \  \  I    <  al t .  I  arly... 

Lacquer  <  abinet.'Blai  k 


21 
21 2. 


5-38 
36 

87 

197 
68 

132 


199 

1 

17 
1  : 
22 
11. 
!,  [9 
zio 

213 

21  I 

'7 

-; 

IN 

23 

4s 

I  \ 

43 


Index 


Furniture — continued.  page 

Mantelpiece   of  Carved   Pine,    Early   and  Middle 

Eighteenth   Century...         ...         ...         ...  2><? 

Sea  Chest,  Old          162 

Gauntlets,  Steel.  Sixteenth  Century,  Italian           ...  3 

,,              ,,                ..                  ,,          Spanish          ...  4 
Glass. 

Cut-glass  Candelabra            ...          ...          ...          ...  104 

Carved  Jars  of  Classical  Outline          ...  103 

Glove,   Kmhroidered,   late  Sixteenth  Century          ...  8 
Leather,    Embroidered,    Mid-Seventeenth 

Century          ...          ...          ...          ...          ...  13 

Linen     ...          ...          ...         ...         ...         ...  5 

Gloves,   Embroidered,   Elizabethan    ...          ...          ...  7 

,,                James  I.         ...          ...          ...  10 

,,        Leather,  Early  Seventeenth  Century,  Eng- 
lish    ...         ' 9 

,,       {see  also  under  headings   "  Gauntlets  "   and 
"  Mittens.") 

Horn,  Carved  Ivors'     ...         ...         ...         ...         ...  42 

Ireland,  Georgian  Mansions  in. 

Curraghmore  :    The  Dining  Room...          ...          ...  147 

,,  Seat  of  the  Marquess  of  Waterford, 

Fountain   at        ...          ...          ...  no 

Ivory. 

Horn,  Carved              ...          ...          ...          ...          ...  42 

Powder-flask 105 

Jewellery. 

Peasant  Jewellery  of  Holland. 

Buckles  for  Trousers        ...          ...          ...          ...  97 

Buttons,  Various  ...          ...          ...          ...          ...  98 

Cigar-case,  Coral  Purse,  and  Man's  Purse       ...  97 

Coral  Chain  with  Lock  and  Centre-piece  of  Gold  9? 

Diamond   Bonnet  Pins    ...          ...          ...          ...  94 

Ear-rings     ...  ...  ...  ...  ...  ...95,98 

Flat   Golden    Plate   attached    to   Head-bow    or 

Hood 92 

Golden  Lock  of  Plate  and  Threadwork           ...  95 

Gold  or  Silver-plate  Hood  for  Women             ...  91 

Head-bows  or  Ear-irons  ...          ...          ...          ...  91 

Head-wear  of  Plain  Golden  Plates       ...          ...  92 

Hood  and  Bonnet  Pins  ...         ...          ...          ...  94 

How  Ornaments  are  worn  ...  ...  93,  94 

Locks  for  Coral  Neck-chains     ...          ...          ...  96 

Metal  Buckle          98 

Pending  Parts  of  the  Spirals     ...          ...          ...  92 

Silver  Case  for   Knitting-needles            ...          ...  98 

Watch-chain  with  Keys  and  Penders  ...  96 
Jewels,  Antique. 

Chatelaines  by  Perigal         142.   M-3 

Old  English       142,   143 

Fob-ring  with  Bezel  in  form  of  a  Key   ...          ...  144 

Watch-case  of  Gilt  Metal,  Filigree 144 

Shagreen  studded  with  Marcasites  144 
Watch  Pendant,   from    "  Fraser-Tytler  "   Portrait 

of  Mary   Queen   of  Scots    ...          ...          ...  142 

Mansions,  Old  English. 

Dunster   Castle           168 

Eridge,   Seat  of  the  Most  Hon.   the  Marquess  of 

Abergavenny               ...          ...          ...          ...  107 

Hardwick  Hall,  a  Seat  of  the  Duke  of  Devonshire  109 

Staircase  in  Cottenham  "Lordship  House"       ...  167 


Mi  dals.  pagi 

Crimean,  Indian,  African,  and  Canadian...          ...  24 

Medals  and  Decorations,  Regimental  and  Other...  29 

Miniatures. 

Charles  II.     By  Samuel  Cooper     ...          ...          ...  196 

Gore,  Lady  Jane.     By  Richard  Cosway,  R.A.   ...  196 

Mittens,  Embroidered,   Elizabethan  ...          ...          ...  6 

News-bill  announcing   the   Defeat  of   Bonaparte  at 

the  Battle  of  Leipzig;            ...          ...          ...  106 

Objets  d'Art. 

Chalcedony  Bottles,  Translucent  ...          ...          ...  247 

Chinese. 

Black  and  Dark  Grey  Jade  Recumbent  Horse  159 
Bronze   Ewer,  with  inlay   of   Gold   and  Silver, 

Sung  Dynasty             ...          ...          ...          ...  157 

Carved  and  Lacquered  Wood  Figures...          ...  153 

Ivory  Figures,  Ming  Dynasty  and  later  155 

Figure  of  an  Emperor,  enthroned  133 
Mottled  Green  Jade  Recumbent  Buffalo,  Sixth 

Century  a.d.  ...          ...          ...          ...          ■■•  154 

Panels  of  Dark  Brown  Lacquer,  early   part  of 

the  Reign  of   K'ang-hsi       ...          ...          ...  156 

Pewter  Bowls,  covered  with  Gold  Lacquer  and 

Shell  Inlay,  probably  Ming  Dynasty         ...  158 

Tapestry  Pictures,  Ch'ien  Lung  Period             ...  160 
Ts'ung,  of  Grey-green  and  Yellow  Jade,  Chou 

Dynasty     '      159 

White  Jade  Dragon-Horse  (Lung-Ma)...         ...  154 

Yellow  Bronze  Box,  lined  with  Black  Lacquer, 

Ming  Dynasty            ...          ...          ...          ...  158 

Lacquer,  Inlaid  Black,  Panels       ...          ...          ...  251 

Table  Screen        ...          ...  231 

Screen  in  Dining  Room  at  Florence  Court        ...  150 

Pictures  and  Drawings. 

Bear    and    the    Bear   Leader,  The.     Drawing    by 

T.   Rowlandson          134 

Bridge   of  Marne.     Drawing   by   Victor   Hugo   ...  117 

Chase,  The.     Drawing  by  T.  Rowlandson           ...  135 
Chase  of  the  German  Cruisers  on  January   24th, 

i9i5,The.      By  the  Hon.  Duff  Tollemache  243 

Death-bed  of  Napoleon,  The.     By  Steuben        ...  46 
Delavel,  Sir  Francis  Blake.     By  Sir  J.  Reynolds, 

P.R.A.              149 

Interior  of  Carlisle  House,  Soho  Square.    Drawing 

by  J.  R.  Smith          201 

James  L,   King          ...          ...          ...          ...          ...  67 

James  II.,    King        ...          ...          ...          ...          ...  68 

James    III.    of    Scotland.     Ascribed    to    Van    der 

Goes     ...          ...          ...          ...          ...          •••  7° 

James  IV.  of  Scotland,  Drawing  of          ...          ...  73 

Portrait  of           ...          ...  74 

James  V.  and  Mary  of  Guise         ...         ...         •■■  75 

Margaret     of      Denmark,     Queen     of      Scotland. 

Ascribed  to  Van   der  Goes...          ...          ...  71 

Margaret  Tudor,  Queen  of  James  IV.,  Drawing  of  73 

Married.     Drawing  by  T.  Rowlandson     ...          ...  137 

Mary  of  Guise,  Queen  of  James  V.  (Drawing)   ...  72 
Napoleon    at    Arcole.     Bv    Antoine    Jean    Baron 

Gros 246 

Palmer.   Miss  Theophila,   Portrait  of.     By  Sir   J. 

Reynolds,   P.R.A 231 

Piccolomini,   .-Eneas   Sylvius,   before   James   I.   of 

Scotland.     By  Pmturicchio             ...          ...  69 


Index 


,    Portrait    of.      By 

101, 161,  165,  i66,  21 1 
Rowlandson 


Pictures  and  Drawings — continued. 

Playmates.     By   O.   Wynne   Apperley,    H.I. 
Return    from    Gretna    Green.     The.      Drawing    bj 

T.   Rowlandson 
Robinson,    Mrs.    ("  Perdita  ' 
J.   Hoppner.   R.A.      ... 

Unidentified  Pictures  ...  51-34 
Unmarried.     Drawing   by  T 

Velvet  Cloak,  The.     By  James  Guthrie 

Ward,    The    Hon.    Edward,    Portrait    of.     P.\    <  I 

Romney 
Woolpack,  The.     Drawing  by  T.  Rowlandson  ... 
YVoolpack  at  Hungerford,  Berks. ,  The.     Drawing 

by  T.   Rowlandson   ... 
Plates. 

Alpine  Traveller,    The.        By    J.    Ward,    after    J. 

Northcote,    R.A 

Altar-piece,  Italian,  Seventeenth  Century 

Anne    Hyde,    Duchess    of    York.      By    Sir    Peter 

Lely 

Bristol,   The   Earl   of,   and   the   Earl   of   Bedford. 

By  Sir  A.  Van  Dyck  

Design.     By    J.    Grozer,    after    Sir    Joshua    Rey- 
nolds   ... 
Feeding    Chickens.       By    P.    W.    Tomkins,    after 

J.  Russell 
Garrick,  David.      By  Sir  J.   Reynolds,  P. R.A.   ... 
George  John,  Earl  Spencer.      By   John   Singleton 

Copley,   R.A.  

Georgiana,   Countess   Spencer,   and  her  daughter, 

Lady    Georgiana,    afterwards    Duchess    of 

Devonshire 
Georgiana,     Duchess     of     Devonshire.     By     Sir 

Joshua  Reynolds       ...  ...  ...  11 

Girl  taking  Coffee.     By  Louis  Marin        

Grammont,  The  Countess  of.      By  Sir  Peter  Lely 

Lady,   Portrait  of.     By  Adam   Buck        

La  Petite  Fille  an   Chien.      By  L.   Marin 
Maid  of  Bath,  The.      By  Ozias  Humphry 
Mary  Queen  of  Scots.      By  Janet  ... 
St.    James's   Park.       By    F.    de    Soiron,   after    G. 


138 

231 
-224 

1  56 

177 

14" 
133 

131 

66 
115 

139 

229 

2 

99 
89 

l8q 


163 
219 

3  5 

47 

1 5 1 

239 

77 


Morland 

173 

Shepherdess,    The. 
Woodford 

By    J.     R.    Smith,    after     S. 

[93 

Skipworth,    Lady, 

Portrait    ol       B3     Sir    Joshua 

Hevnolds 

57 

1  ea    '  larden,    A. 

By     !■'.    de    Soiron,    after    G. 

Morland 

130 

Turner,    J.    M.    W 

.     R    \        Pi  iitr.nl     of       B)      I 

Plates — continued. 

Wharton,  Lady.      By  Sir  A.   Van  Dyck 

•What  you  will!"  nd  after  J.  R.  Smith 

Pottery  and  Porcelain. 
Chelsea   Groups,   Rare 
Chiix    1 

Han  Potterv  Model  of  a  "  Fowling  Tower"   ... 

Pilgrim   Bottle.  T'ang  Pottery   ... 

Porcelain  Figure  of  Slum  Lao,  "  Famille  Verte," 
K'ang-hsi  Period 

Stoneware  Vase,  Sung  Dynasty... 

Tang   Pottery   Dish  

Vases,  Various 
Derby  Group  :    Pointer  and  Setter 
Etruscan   Vase,   A  Fine 
Lowestoft  Teapot     ... 

Milton,   Bust  of  

Pottery  Dogs,  Mid-Victorian         

Ralph  Wood. 

Bust   of   Milton      

Figure  of  Pointer  Dog     ... 

Figure  :    The  Bull-bait     ... 

Figure  of  Toby  Jug 

Groups  :     St.  George  and  the  Dragon,  and  The 
Widow    nl    Saivtta      ... 

Model  of  the  Neapolitan  Lion  ... 

White  Statuettes  :    Neptune  and  Venus 
Rockingham. 

Pointer 

Poodle 
Soho  Pottery... 
Staffordshire. 

Begging  Poodles,  Pair  of... 

Figures 

Poodle  with  Cat   ... 

Poodles,  Pair  of   ... 
Wedgwood  Plate 
Wood  and  Caldwell. 
Worcester  Poodle 


Pair  of  Sporting    1  logs 


Silver. 

Seventeenth-century  Posset-pot  and  Cover 
Sheffield  Candlestick,   Eighteenth  Century 


249 


40 
38 

37 

}8 

41 

39 

215 

102 

C03 

218 

79 
82 
80 
82 

81 
76 
80 

217 

216 

54 

218 

214 
217 
216 
56 
ji  ; 
216 


187 

is; 


Wildman,   jun. 


Tnblc-i  loth.  Design   lor  a        

Wrought-iron  Lamp  at  Chelsea  Hospital    237 


IN    THE    SALE    ROOM 


Arms  and  Armi  n  r. 

1st  an  ellr,  Mul  Sixteenth  Century... 

Helmet,   <  lose, l,    third   quarter  o\    the   Sixteenth 

1  entury 

Pi  tol,   Flint-lock,   Highland  

Pistols,    Duelling,    Antique    Engraved    Steel    and 

Brass,   Pair  of 


i;i 
1,-1 


J  jo 


Arms    \nii  Armour — continued. 

Si  iinit.ir,  w  11I1  Jade  (  trip,  found  in  the  Palao 

1  ipj Sultan   a1    Seringa] ia tam  ... 

Sword,  Twelfth  Century 

Wheel  loi  k  Spoi  ting  i  run    l  ioul  le-barrel. 

Rifle,  dated   1:646 


171 
1  1 
171 

1 


Index 


\i    rOGRAPH  !. 

American     War     of     Independence,     Docunn  m 
relating   to 

Austen,  Jane.     Original  -MS.  of  "The  Watsons," 

Unfinished   Novel 
British  Colonies,   Documents  relating  to... 
Bronte,  Charlotte.      First  French  Exercise  Book  of 
Chatham,   Lord.     Holograph  Letter  of   ... 
Dickens,    Charles.      Five    Pages    of    the    Original 

Autograph  MS.  of  Chapter  19  of  "  Pickwick 

Papers  " 

"  Henry  VIII.'s  Moste  Honourable  Councell," 
MS.  Account  of  the  Dinners  provided  for, 
from  nth  Dec,  1514,  to  5th  April,  1515... 

Ireland,  Documents  relating  to,   17S2-9   ... 

Kello,  Mrs.  Argumenta  in  Librorum  Psalmorum, 
Estherae  Inglis  manu  exarata 

Kipling,  Rudyard.  One-page  Autograph  Draft 
of   "  For  all  we  have  and  are  "... 

Meredith,  George,  and  Sutro,  Alfred.  Un- 
published Play,  "  The  Egoist,"  with  Auto- 
graph Pages  and  Corrections  by  Meredith 

Nelson,   Admiral  Lord. 

Letter  addressed   to   Sir  Hercules  Ross 
Original  Autograph   Log-book   of 

Shirley,  Governor,  Letters  of 

Stevenson,  R.  L. 

Letter,   dated  from   Vailima,   to  Mrs.   Billson... 
Proof-sheets    of     "  Underwoods."    inscribed    in 
Stevenson's  Autograph 

Sullivan,  Sir  Arthur.  Original  MS.  Score  of 
"  Utopia  " 

Sydney   (N.S.W.),   Documents  relating  to 

Taunton,  T.  H.  Portraits  of  Celebrated  Race- 
horses,  Original  MS.   of 

Wolfe,   Lt.-Col.    James,   Four-page  Letter  of     ... 

Books  and  Manuscripts. 

Ackermann.       Microcosm     of    London,      t,    Vols  , 

1808-9  

Aiken. 

Collection   of  Works  of   ... 
Sporting   Satirist,    1834    ... 
Aiken,  Cruikshank,  etc.      Annals  of  Sporting  and 
Fancy  Gazette,   1822-8 

Aiken,  Henry.      National  Sports  of  Great  Britain. 

1825 
Aiken,     Samuel.     Delineations    of    British    Field 

Sports,   1823   ... 
Annual    Register,    The,    175S-1907... 
Apperley,  C.   J.   ("  Nimrod  ").     Life  of  a  Sports- 
man, 1st  Edition,  1842 
Barlow,  F.    Seuerall  Wayes  of  Hunting,  Hawking, 

and  Fishing,   1671 
Beaumont  &  Fletcher.     Comedies  and  Tragedies, 

1st  Collected  Edition.  1647... 
Berners,     Juliana.     The    Gentleman's    Academic, 

1595 

Bowles.     Life  of  Jack  Sheppard,  1724  ;    and  The 

Prison    Breaker,    1725 

Browning.     Pauline,  1st  Edition,  Original  Boards 

Campbell.  James.  Treatise  of  Modern  Faulconrv, 
1st  Edition,   E773 

Careless,  John.  The  Old  English  Squire,  1st 
Edition,  1821... 

Chippendale.       The     Gentleman     and     Cabinet- 
maker's Director,  3rd  Edition,  uncut.  1762 


226 

17- 
226 

172 

226 


226 
226 


172 


172 
172 
226 


172 
226 


22S 
226 


227 


228 
227 


227 
227 


227 


j  j' 


228 


F.    W.     Atlantic    Neptune,   The, 


227 
17- 

226 

175 
226 

175 

227 

227 
172 


11  s 


0-5 

^7 
227 
228 


Books  and  Manuscripts — continued. 
Clovis  Eve.     I.e  Psautier  de  David,  with  Binding 

Cox.    X.     Gentleman's   Recreation,    is1    Edition, 

1674 

Currer,   Ellis,  and   Acton   Bell.   P. .ems  by 
Curtis's  Botanical  Magazine,  94  NCI  -  .   17*7-1X8*. 
etc. 

Defoe,    Daniel.     Robinson    Crusoe,    3    Vols.,     1st 

Edition 
Des    Barres,    J 

1 770-80 
I  ir  kens.  Charles.     American  Notes,  with  Presenta- 
tion Inscription  from  the  Author... 
Egan,   Pierce. 

Boxiana,   5   Vols.,   1818-29 

Life  in  London,  and  Finish  to  Life  in  London, 

Large  Paper,  2  Vols.,   1823-30 
Elwes,  H.  J.  and  Henry-  A.     The  Trees  of  Great 

Britain  and  Ireland,   1905-13 
Fitzherbert,    Sir   A.     The    Boke   of   Husbandrye, 

now  lately  corrected  and  amended,   1568... 
Gagliardelli,   S.     Preces  Latini,   Illuminated  MS., 

with  Miniatures  and  Initials  by 
Galle.     A'enationis,   Piscationis  et  Aucupii  Typi, 

1582 '  ... 

Gosden,  Thomas. 

Essays  on  Hunting,  by  a  Country  Squire,   1st 

Edition.    1733 
Impressions  of  a  Series  of  Animals.  Birds,  etc., 

1821 

Volume  containing  Engraved  Portrait  of,   and 

Autograph  Letters  addressed  to   ... 
Graves,  Algernon,  and  W.  V.  Cronin.      History  of 

the  Works  of  Sir  Joshua  Reynolds,  13  Vols., 

1899 

Gray's  "  Elegy,"  Large  Paper  Copy  of  Van  Voorst's 

Edition,     containing     19    of    the    Original 

Drawings  by  Constable,  1836 
Great  Nuremberg   Chronicle,   1st  Edition,   1493... 
Hora.     Fifteenth-century  English  MS.    ... 

Hours,    Book    of.     Fifteenth-century  French  MS.      17; 
Fourteenth-centurv      MS.      on 
Vellum  ...  ...  ...     226 

Kipling,  Rudyard.     Echoes,  by  Two  Writers,  with 

an  Original  Autograph  Unpublished  Poem, 

"To  the  Ladies  of  Warwick  Gardens"   ...      172 
Lilford.  Lord.     Coloured  Figures  of  the  Birds  of 

the  British  Islands,   -  Vols.,  uncut,   1891-7      228 
Linschoten.     Discours  of  Vovages  into  ye  Easte 

and  West  Indies,   159S         ...  ...  ...      226 

Lords,  House  of,  Journal  of  the.     Vols,  I.  (1507) 

to  CXIX,    (1885),  etc.      (140   Vols)  ...      226 

Markham,     Gervase.       The    Young    Sportsman's 

Delight  and  Instructor        ...  ...  ...      228 

McLean. 

Sporting  Repository-.  The.  1822  ...  ...  ...     227 

Sporting  Scrap  Books,   fifty  Coloured  Plates...      227 
Meyer,  L.      British  Birds,  4  Vols  ,   1835-4]  ■•-     228 

National  Biography,  Dictionary-  of,  70  Vols.,  [885- 

1912     ...  ...  ...  ...  ...  ...     227 

Piranesi's  "  Opere  varie  de  Architettura,  "  1750...      226 
Scott  and   Bewick.      Sportsman's  Cabinet,    1803-4      22& 
Sheraton,    T.     The    Cabinet-Maker    and    Uphol- 
sterer's Drawing   Book,    1802  ...  ...     228 

Smith,  J.  C.     British  Mezzotint  Portraits.  4  Vols., 

1884 228 


228 


22* 


175 
226 

226 


vm 


Index 


PAGE 

Books  and  Manuscripts — continued. 

Sporting  Magazine,    1793-1S70        ...  ...  ...      228 

Stevenson,  R.   L. 

A  Child's  Garden  of  Verses,  1st  Edition,  nncnt, 

1885 172 

Father  Damien,  original  issue,   1890     ...  ...      172 

Underwoods,      Proof-sheets     of,      inscribed     in 

Stevenson's   Autograph         ...  ...  ...      172 

Surtee,    R.    S. 

Analysis  of  the  Hunting  Field.  1st  Edition,  1846     228 

Handler  Cross,    1st   Edition,   1854  228 

Vern'et  and  Lanin.     Collection  des  Uniformes  des 
Armees  Franchises,  1791-1S14.  100  Coloured 

Plates 227 

Walton  and  Cotton.     Complete  Angler,   1808     ...      jj.s 
Westmacott,  C.  M.      I  he  English  Spy,  1st  Edition, 

1825-6  .'         228 

Williamson,  Capt.  T.     Oriental  Field  Sports,  1 807      228 
Bronzes.     [See  undei    Sculpture.) 

Coins  and  Medals. 

Bank    of    England    "  Bank    Post    Bill  "    for    ;m, 

endorsed  by  the  Duke  of  Wellington  ...  171 
Barossa,  Battle  of,  Gold  "  Eagle  "  Badge  of  ...  171 
Carthage     Silver    Tetradrachm     of     Siculo-Punic 

Fabric,  circa  410-310  b.c   ...  ...  ...      171 

"  India.  Army  of,"  Silver  War  Medal,  with  (  lasps 

of  "  Ava  "  and  "  Maheidpoor  "      ...  ...      171 

James  I.  Thirty-shilling  Gold  Piece  ...  ...      171 

Queen  Anne  Five-guinea  Gold  Piece        ...  ...      171 


Embroideries. 

Turkish   Prayer    Rug 
Engravings  and  Etchings. 

Abbott,  L.  F.     The  Rt.  Hon.  Lord  Hood.  Admiral 

of  the  Blue.     After  V.  Green 
\ gar,   J.     Mr-;.   Duff.      After  R.   Cosway... 
Brompton,  Richard.      William,  Earl  of  Chatham. 

By  Edward   Fisher   ... 
Cosway,  Maria      Mrs.  Cosway.     By  V.  Green  ... 

Cosway,   R.     Mrs.   Duff.      By   J.   Agar     

Cousins,   S. 

La  Surprise.      After  C.  M.  Dubuffe 
Mi^s  Macdonald.      After  Sir  T.   Lawrence 
Dubuffe,  C.  M.      La  Surprise.      By  S.  Cousins  ... 
Fisher,     Edward.     William,     Earl     of     Chatham. 

After  Richard  Brompton    ... 
Green,  V. 

Mrs.  Cosway.      Alter  Maria  Cosway 

Right  Hon.  Lord   Hood,  The.    Admiral   of    the 

Blue.     After  I      I      Abbott...  

11,'iig,  Axel.  The  Portals  of  Rheims  Cathedral... 
Lawrence,  Sir  T.  Miss  Macdonald.  By  S.  Cousins 
Reynolds,  Sir  J.  Mrs.  Carnac  B3  J.  R  Smith 
Smith,  J.  R,     Mrs.  Carnac.     After  Sir  J.  Reynolds 

Furniture. 
Vdam. 

1  arved  and  Gilt  Oval  Frame  Wall  Mirror     ... 

Mahogany  Sideboard 
Anne,  Queen.     Walnut  Chairs 
Boulli    Bracket  Clock,  by  Cohendoz,   Paris 
( Ihippendale 

<  arved  and  (lilt  Wall  Mirror 

Inlaid  Carved  Mahoganj   Cabinet 


11  j 

22  5 
11  j 
11  j 

1 1 2 

lr3 

112 


112 
1 13 

■  1  i 
1  1  3 


Furniture — continual. 
Chippendale  — mii//ji  ueil. 

Mahogany  Chairs.   Set   of   12 

Table  

Dutch  Marquetcrie  Table   ... 

Flemish  Walnut-wood  Press,  Seventeenth  (  entury 

French  Parqueterie  Commode 

Georgian. 

Inlaid  Mahogany   Dining  Table... 
Mahogany    Bookcase 
Wall  Mirror,   Early 
Hepplewhite  Inlaid  Mahogany   Bookcase... 
Lacquered  Cabinet,   Black  and  Gold,   Antique   ... 
Lacquer  Screen,  Chinese,    Kang-he 
Louis  XV. 

King-wood   Bureau 

,,  Commodes 

Marqueterie  Tulip-wood  and   King-wood   Com- 
mode 
King-wood   Writing-table... 
Louis   XVI. 

(  arved    Gilt    Settee,    with    Seat    and    Mack    in 

Needlework     ... 
Marqueterie  Writing-table 
Parqueterie  Cabinet 

,,  Commode 

Writing-table,  with  Chased  Ormolu  Mounts  ... 
Nonsuch    Chest.    Inlaid.    English,    late    Sixteenth 

Century 
Parqueterie  Commode,  with  Ormolu   Mounts 
Regence  Commode    ... 

Screen,  Six-leaf,  decorated  in  Chinese  taste 
Spanish   Ten-leaf   Leather  Screen,  second  quarter 

of  Eighteenth  Century 
Walnut    and    Ebonised    Cabinet,    with    Venetian 

( rlass   Panels  ... 
William  and  Mary. 

Marqueterie  Walnut  Table 
Walnut  Arm-chair 

High-back  Chairs 

Jewellery. 

Amethyst    Bead    Necklace    ... 
Brilliant   Brooch 

Earrings,  Pair  of ... 

blown    Brooch   and   Pendant 

Maltese  Cross   I  'endant  ... 

Rosetti    1  ;i h    ... 

1  iiam<  "id   I  i\  1   leal   Flow  ei    Brooch 

Scroll  leaf  and  Spraj    N«  klai 
Gold  Enamel  Necklace 

Seal,  sel   with   Emerald,  engraved  with  the 

Arms  and  (  \  phi  I  of    Marj    1  hi 

Snake  Necklai  e 
Pearl   Necklai  e 
Sapphire  and   Brilliant    I li a<  elet    ... 


114 
114 

171 
171 
114 

114 

1  1  I 
227 

"4 

22<< 

2  2' 

227 
227 

227 

22<> 


114 
227 
2  2~ 
171 

114 

i;- 
114 
171 
114 

172 

"4 

J  jo 

"4 

J  JO 


113 


227 

114 

Laci 

1 1  1 

1  lomton    1 

171 

I. inn  ricl     Dn 

"4 

Mini  \  1 1  ri 

114 

Small,    John. 

j 


II  j 
113 

I I I 
11 1 
114 
1 1 1 

I I  j 

I I I 
1 1 1 

1 
II I 


17" 


I  he  1  Ion.  Mrs.  I  lervej 


Index 


Musical  Instruments. 

Stradivarius,     Antonius.     Violin,     bearing     label 
inscribed 

Objets  d'Ari 

Boulle  Bracket  (lock,   by  (  ohendoz,   Paris 
Bracket  Clock,  Chiming,  English,  by  James  New- 
ton, London   ... 
Bronzes  {see  under  Sculpture). 
Fan,   Queen  Mary's  ... 

Ivory  Statuettes  of  the  Virgin,  Portuguese 
Tusks,  Japanese,  Pair  of     ... 
Vase,  Flemish 
Jade  Bowl,  Russian  ... 

with  Silver  Mounts,  set  with  Diamonds 
Lacquer. 

Gold  Lacquer  Box 

Japanese   Gold  Lacquer  Writing-box   ... 
Louis  XV.  Tortoiseshell  Inkstand... 
Louis  XVI.  Gold  Snuff-box 
Russian  Jade  Bowl  ... 
Snuff-box,  Gold,  Louis  XVI. 
,,  Silver 

Pictures  and  Drawings. 

Abbey.    E.    A.,    R.A.     Portrait   Head   of   H.R.H. 

the  Prince  of  Wales... 
Allori.     Portrait  of  a  Lady 
Backer,  De.     Portrait  of  a  Man   ... 
Beattie-Brown.  W..  R.S.A.     The  Pass  of  Shieldaig, 

Ross-shire 
Bierstadt.     Sunset  in  the  Mountains 
Bogert,  G.  H.     A  Glorious  Sunset... 
Bone,    Muirhead.       Pencil     Drawing     of    London 

Architectural  Subject 
Boucher,  Francois.  Amorini 
Burne- Jones,  Sir  E. 

Female  Head   (red  chalk) 

Wedding  of  Psyche,  The... 
Cameron.     Glencoe  ... 

Chase,  W.  M.     A  Wheatfield  

Coates,  George  J.     A  Spanish  Dancer     ... 

Collier,  The  Hon.  John,   Blank  Canvas  of 

Connard,  Philip,  Portrait  by 

Constable.     Hampstead  Heath 

Cope,  A.  S.     Miranda 

Corot.     Hay  Cart     ... 

Cranach,  Lucas.     The  Jeweller's  Daughter 

Crane,  B.     Edge  of  the  Woods     

Crome,  J.     Old  Bathing  House,  Norwich 

J.  B.     Ostend  Canal,   Bruges 
Diaz,  N.  V.     Landscape     ... 
Dobson.     Portrait  of  the  Earl  of  Portland 
Earl,  Miss  Maud.     Poissons  d'Avril 
Farquharson,   Joseph,  R.A.     The  Crofter's  Team 
Fildes,  Sir  Luke.     Marietta 
Foster,   Birket.     View  in  Rouen   ... 
<  ..imsborough,  T. 

Miss  Marsham 

(half-length    portrait) 
Gordon.      Sir      John      Watson.     The     Mackenzie 

Children 
(.uerin,     F.     Eillette     jouant     avec     un     garcon 
endormi 


172 

170 
170 

170 

170 
170 
170 


170 
170 
170 
170 
170 
170 


227 
17^ 


1 1 1 

175 

112 

i/5 

1 1 2 

175 
112 
112 
1 12 

175 
1 12 

G"5 
175 
175 
175 
112 

175 


112 
1 1 1 


182 


Pictures  ami  Drawings — continued. 

Harlow,    William,      landscape,    with    a    View    of 

Eton    College  ... 
II. lit,   W.      Cows   Drinking... 

Harvey,  Sir  George,  P. R.S.A.      Past  and   Present 

Heffner,  Prof.  Karl.     The  Upper  Reaches.  Norfolk 

Broads  ...  ...  ...  ... 

1  loppner. 

Portrait  of  Lady  Campbell 

,,    the  Countess  of  Guildford... 
Hornel,  E.  A.      In   the  Orchard 
John,   A.   E.     Portrait   of   the   Chancellor   oi   the 

Exchequer 
Kessel,  John  Van.     Landscape 
Largilliere,  X.  de. 

Portrait  of  a  Lady  of  the  Court  of  Louis  XIV. 
,,    the  Due  de  Penthievre 
Laszlo.    P.   A.    de.     Portrait   of  Madame   Marthe 

Lettelier 
La  Thangue,   H.  H.      In  a  Cottage  Garden 
Laverv,   John,   Blank  Canvas  of   ... 
Lawrence,  Sir  T. 

Portrait  of  the  Marquess  of  Hertford... 

„    Lady  Melville  

Lely,  Sir  Peter.     A  Youth  of  the  Bettmsun  Family 
Le  Sidanier,  H.     La  Boucherie     ... 
Lorenzetto,  Mdlle.     Jeunesse  (Pastel) 
Mcissonier.     Cavalier  of  the  Time  of  Louis  XIII. 
Mierevelt,  Van.     Portrait  of  Marguerite  van  Brom- 

kart      

Millais,  Sir  John.     Attack  on  Kenilworth  Castle... 
Millet.     The  Granddaughter 
Moran,  T.     The  Feudal  Tower     ... 
Mostyn,  Tom.     The  Invaders 

Muriilo.     The  Little  Shepherd        

Nattier.     Portrait  of  Marie  Anne  Darras 

Xormann.   A.     The  Sognefjord.   Norway... 
Orchardson.     Young  Duke... 
Orrock,   James.     On  the  Nith 
Partridge,  Bernard.     The  Excursionist    ... 
Perigal,   Arthur,   F.S.A. 
Arran  from  the  Cam  braes 
Fall  on  the  Lednock,  Perthshire 
Pettie,   J.     The  Ransom     ... 
Phillip,  John,  R.A.     Pascuccia 
Puligo,    Domenico.     Madonna    and    Child,    with 

St.   John  

Raeburn,   Sir  H. 

Portrait  of  Lord  Craig    ... 

,,  ,,    Mrs.  Stuart  Richardson 

Rehn.      "Where  Waves  and  Moonlight  Meet"... 
Reynolds,   Sir   J. 

Annabella,    Lady    Blake,   in    the   Character   of 
"  Juno  " 

Portrait  of  Miss  Kitty  Fisher 

,,    Mrs.  Musters  as  "  Hebe  "... 
,,    Miss  Theophilus  Palmer     ... 
George  Selwyn 

(half-length  portrait)  ... 
Reynolds  (School  of).  Portrait  of  a  Ladj 
Richmond,    Sir  W.    B.     The  Monastery   from    St. 

Bernardino's  Cell,   Assisi      

Riviere,  H.  G.,  Portrait  by 


22  K 

175 

zz7 

227 

175 
175 
112 

112 

'75 

175 
175 

112 
112 
112 

175 
175 
225 
1 12 
112 
1 12 

175 
1 12 

i/~5 
175 
1 12 

175 
175 

227 

175 
1 11 
112 

227 

22/ 
112 
22/ 

175 

175 
17; 


175 
175 


/-I 


2  2^ 
IS2 
114 

I  1  2 
I  12 


Index 


Pictures  and  Drawings — continued. 
Romney,   G. 

John  Thomas,  2nd  Viscount  Sydney 


(half-length 
portrait) 


Portrait  of  Mrs.   Appleby  

,,    Mrs.  Drake   ... 

Rousseau,  T.     Landscape 

Rubens.     The  Adoration   of  the  Magi     

Sargent,   J.  S.     Charcoal  Portraits  by     

Spagna.     St.  Mary  Magdalene       

Steer,  P.  Wilson.     A  Forest  Glade  

Steuben,  R.     La  Mort  de  Napoleon  

Storey,  G.   A.     Coming   Events     

Stuart.  Gilbert. 

Thomas,   1st  Viscount  Sydney   (half  length)    ... 
„  ,,  (three-quarter 

length) 

Tadema.   Sir  Alma-.      Sculpture  Gallery 

Tholen,  W.  B.     Nandschap,  Holland 
Titian. 

Holy  Family,  with  St.  John,  in  a  Landscape... 
Susannah  and  the  Elders 
Tocque,   Jean  Louis.      Portrait  of  Madame  de  la 

Marteliere 
Townsend,  F.   H.     For  the  Wounded 

Troy,  De.     Portrait  of  a  Man       

Truesdall,  G.  S.     The  Shepherd's  Lunch 

Turner,   J.   M.   W. 
Hilly  Landscape    ... 
Sunset  on  the  Sea... 
Van     Dvck     (attributed     to).       A    Lady     of    the 
Coningsby  Family 

Van  Orley.     Virgin  and  Child       

Velasquez.     Mariana,  Queen  of  Spain      

Vely,  Anatole.     Love's  First  Steps  

Verestchagin.     Russian   Blacksmith  

\  Lgi  e  Le  Brun,  Madame. 

Portrait  of,   by  Herself 

„    the  Artist 

,,    Madame  Vestris 
Wootton,  John. 

Landscape  Portrait  Group  of  Sir  Robert 
Walpole,  in  Green  Hunting  Costume, 
with  Groom.  Hunter,  and  Hounds 
Landscape  Portrait  Croup  of  Sir  Robert 
Walpole,  with  Groom,  Hunter,  and 
Hounds 
Wyck,     J.        The     Hon.     Mrs.     Townshend,     nee 

Selwyn 
Wyllie,  W.  L.     Destroyer  versus  Submarine 

Ziem,  F.     Grand  Canal,  Venice     

Zoffany.     Portrait  Group,  in  a  Landscape 

Pottery  and  Porcelain. 

Berlin  Tea  and  Coil"    Service       

Chelsea 

Figure  oi   "   I  u  >1  ii  e 

Scent-bottle  

Chinese. 

Amphora-shaped    Famille-noire  Vase 

FamiUe-rose     Figures    of     Deities,     Kien-Lung 
Period 

Famille-verte   Khang  hsi  Vase  ... 


225 

182 
175 

175 


1 12 

175 
1 12 
112 
112 


17? 
227 

112 

175 

175 
1 12 

175 
175 

in 
in 

175 
175 
175 
227 
175 

182 


IS: 

22; 
112 

175 
225 


175 

1  1  1 
175 


Pottery  and   Porcelain — continued. 
Chinese — continue,!. 

Green  Oviform  Ming  Jar... 

Khang-hsi  Vases,  various 

Stoneware  Fish-bowl 
Derby-Chelsea  Figures:    The  Sailor  and  Hi-  Las- 
Leeds  Tea  and  Coffee  Set  ... 
Nankin  Oviform  Jars  and  Covers... 
Sevres. 

Ecuelle,  with  Cover  and  Stand... 

Hard-paste  Vases 
Spode. 

Tea  Service 

Writing  Set 
Worcester. 

Cream-jug  and  Cover 

Dessert  Service 

Sugar-basin  and  Cover 

Relh  s 

Buonaparte.  Joseph,  King  of  Spain.      (  Mass  Beaker 
taken  from  the  Carriage  of,  after  the  Battle 
of  Vittoria,   1S13 
Havward,  Tom.     Cricket  Bat  select.  M  U     bearing 
the  Autographs  of  66  famous  Cricketers... 
Man-  Queen  of  Scots,  Crystal  Decanter  of 
Lock  of  Hair  of    ... 
Stradivarius  Violin   ... 

Sculpture. 

Boehm,    Sir   J.    Edgar.       Terra-cotta    Bust   of      I 

McNeill  Whistler        

Bronze.     Truth   Killing   Falsehood 

Bronze  Bust  of  a  Faun.  Louis   X1Y 

Figure.      A    Piping    Faun.     By    Onslow 

Whiting     ... 
Group.    Two  Bears  Struggling.     By  J.  M. 

Swan 
Knocker,   Italian,   Sixteenth  Century 
Marble  Vase,   French,  Eighteenth  Century- 
Swan,     J.     M.      Bronze    Group    of    Two     Beai 

Struggling       

Whistler,   J.   McNeill.  Terra-cotta    Bust   of.      By 

Sir  J.  Edgar  Boehm... 
Whiting,    Onslow.     Bronze    Figure    of    a    Piping 
Faun    ... 

Ml  VI   R. 

Anne.   Queen.       Tankards     ... 
(  harles  11.   Porringer 
Continental  W  ager  Cup 
|.  U/.ili,  than      I  igei  ware     Jug,     with     Silv< 
Mounts 

George  I . 

(aster. 
Sha\  ing  dish 
Soap-box    ... 
,    addy  ... 
t  rei  irge  III. 

Fluted  Candlesticks,  set  oi  lour... 

Oval  I  'i  lies.  1782... 

Plain    rea-kettle    ... 

Sail   .  .ll.ii  i,    1  '.111    "I 

I  ea  ( addies 

Two  handled  Cup  and  (  o\ er     ... 


'.  - 
1 75 
11 1 
1 11 
"4 
1 1 1 

in 
1 1 1 

11 1 

1 1 1 

1 1 1 

114 


171 
114 
"4 
£71 


1-1 
171 
171 

17  > 

171 

171 


iH 


171 
11; 

1 1  ; 
1 1  ; 


11  ; 
11  ; 
11  ) 
11  j 

22; 


113 
n  1 


Index 


Silver — continued. 

.hi 
Muffineers,  set  oi  three    1732 

iii  ci  llai       1    29  ... 
Xeapi 'i       1    1  -   .Hid   1716 
Georgian  and  William  IV.  Meat  and  Soup  Plates 
Set  of  ... 

nan. 

Silver-gilt  Standing  Cup  and  Cover,  Sixteenth 

Century 
Tazza,  Seventeenth  Century 


11--, 
11--, 


Silver — continued. 
Irish. 

Potato  Rings,   Eighteenth  Century,  Pair  of    ... 

Silver-gilt  Dishes  [circa   1750),  Pair  of... 
Italian  Silver  gill   Dish,  Seventeenth  Century    ... 
Jacobean  (lolilct 

Perceval,  Spencer,  Silver  Soup  Tureen  of,  1807... 
Turner-ware  Mug,   Mounted  with  Silver  Lip    and 

1    '  l\  IT    ... 

Tapestry. 

Flemish  Panel.  Seventeenth  Century 
Spanish  Panels,  Two 


"3 
113 


"3 
113 


113 


I/O 
I/O 


DESIGN 

BY    J.    OROZER,    AFTER    SIR    JOSHUA    REYNOLDS 


May,  1915. 


Miscellaneous 


w^ 


The  History  of  the  Glove 

The  earliest  mention  of  the  glove  is  in  the 
Old  Testament,  a  Chaldean  translation  of  the  Book 
of  Ruth  fin  which  the  word  "shoe''  is  rendered 
"glove")  furnishing  a  reference  to  the  prophet  who 
declared  that  he  would  "cast  his  shoe  o'er  Edom." 
Accredited  prophets,  however,  were  not  the  only 
I  (  rsons  to  wear  these  ancient  articles  (if  apparel,  for, 
according  to  the  Jewish  Talmud,  the  ordinary  Chal- 
deans first  sported  "  the  clothing  of  the  hand "  at 
least  a  thousand  years  before  the  commencement  of 
the  Christian  era.  This,  at  all  events,  is  the  opinion 
ol  the  learned  Casaubon,  whose  searching  enquiries 
have  been  conducted  with  a  thoroughness  which  is 
almost  without  a  parallel.  Nearly  a  century  after 
the  Book  of  Ruth   was  written.  Homer  tells   how   he 


By  George  Cecil 

tound  Laertes,  the  agriculturist,  wearing  gloves 

working  in  the  garden  in  order  that  the  thorns  might 
not  pierce  his  tender  skin,  while  those  used  b) 
wi  re  composed  of  seven  folds  of  the  thickest  bull's 
hide,  sewn  and  stiffened  with  knots  of  lead  .mil  iron. 
Virgil  describing  them  as  follows: — 

"  Obstupuere  animi :  tanlorumingeiilia  seplem, 

a  bourn  phtmbo  inserto,  /,■;.  ,/«/." 

Zenophon  (who  had  the  courage  ol  his  dislikes) 
declared  that  "the  ancient  Persian.-,  were  effemina 
because  they  gloried  in  their  gloves.  \.<rro.  a  1  on- 
temporary  of  Cicero,  also  has  a  word  to  say  on  the 
subject,  having  placed  it  on  record  that  the  lingers 
which    pluck    the    olive   should  not    be   gloved,    and 


\T0,     [.—  PA]  B    in 


V01 .  M.ll.     No.  165.     \ 


.  1  1  \  I  II-'  I.N  1  1   I    1  1  1  .     ■  .  II     .  11  I    I     ,     1.  •  •  1      ED 

1  in     PROPERTY    ''I     MR.    DAVID    M.    CI    Rl     I 


The    Connoisseur 


NO.    II.  —  PAIR    OF   SIXTEENTH-CENTURY   STEEL   GAUNTLETS,    DAMASCENED    WITH    COLD   AND   SILVER 


Pliny  the  younger  narrates  that  his  father's  secretary 
wore  gloves  for  the  pre-eminently  commendable 
purpose  of  keeping  his  fingers  warm.  The  philoso- 
pher Musonious,  going  to  extremes,  regarded  them 
as  having  a  most  corrupting  influence,  for  in  the  early 
days  of  Christianity  he  wrote :  "  It  is  shameful  that 
persons  in  perfect  health  should  clothe  their  hands 
with  soft  and  hairy  coverings."  Nor  must 
mention  of  Athenasus's  contribution  to  ancient  fiction 
be  omitted.  The  accomplished  raconteur  speaks  of 
a  certain  horrid  glutton  who  "  always  came  to  table 
with  gloves  on  his  hands,  that  he  might  be  able  to 
handle  and  eat  the  meat  while  hot.  and  devour  more 
than  the  rest  of  the  company."  Athenseus  does  not 
inform  posterity  with  what  substance  his  friend's 
throat  was  lined,  or  if  the  greedy  person  was  merely 
a  human  salamander. 

Although  in  England  gloves  practically  "came  over 
with  the  Conqueror," it  was  not  until  the  Middle  Ages 
that  they  were  in  general  use — when,  in  addition  to 
serving  their  purpose,  they  also  figured  as  symbols. 
The  affronted  knight's  gauntlet,  for  instance,  was 
synonymous  with  his  unstained  honour,  the  "  mailed 
fist"  consisting  of  a  gauntlet  which  was  adroitly 
fashioned  so  that  each  finger  had  almost  as  much 
freedom  as  if  the  hand  was  bare.  Later,  when  ladies 
took  to  wearing  gloves,  "  squires  of  dames  "  and  other 
armoured  gallants  displayed  the  embroidered  fal-lals 


in  their  helmets.  And  woe  betide  the  knight  who 
had  the  misfortune  to  be  beaten  in  the  conflict,  or, 
still  greater  calamity,  to  lose  the  gage  d  'amour,  for, 
in  addition  to  forfeiting  his  lady's  favour,  he  in- 
variably incurred  the  odium  of  the  other  knights, 
who,  looking  upon  defeat  as  tantamount  to  disgrace, 
presumably  expected  both  sides  to  win.  There  were, 
however,  worse  things  than  losing  the  treasured  keep- 
sake. Highly  placed  misdemeanants,  for  example, 
were  divested  of  their  gloves  when  deprived  of  their 
office,  the  former  being  roughly  removed  by  the 
rude  hands  of  a  jeering  varlet  specially  retained  for 
the  purpose.  An  instance  is  furnished  by  the  Earl 
of  Carlisle,  a  catif  who,  in  the  reign  of  Edward  II.. 
held  a  traitorous  correspondence  with  the  marauding; 
Scots,  and  was  (very  properly)  sentenced  to  have 
his  weazand  slit.  Before  mounting  the  straw-strewn 
scaffold  the  disloyal  scribe  had  a  fine  pair  of  glo\es 
dragged  off  and  trampled  in  the  dust.  Sometimes 
the  person  about  to  be  ungloved,  instead  of  bowing 
meekly  to  the  frightful  indignity,  removing  his  glovi  -. 
cast  them  into  the  crowd  with  the  loudly  expressi  d 
wish  that  whoever  caught  them  would  avenge  the 
deed  of  dishonour.  As  a  rule,  however,  the  dis- 
graced evil-doer  submitted  his  hands  to  the  unsym- 
pathetic valet,  or  his  neck  to  the  executioner,  without 
a  murmur.  It  may  be  noted  that  the  ceremonv  of 
degradation  did  not  always  include  the  trampling  in 


The    History   of  the    Glove 


\ 


the  mud  process,  the  gloves  often 
being  transferred  direct  from  the 
wearer's  white  hands  to  the  de- 
spoiler's  breeches-pocket. 
Amongst  others  the  murdered 
Charles  I.  was  allowed  the  privi- 
lege of  presenting  his  execution 
gloves  to  a  weeping  gentleman 
who  attended  him. 

A  typical  pair  of  sixteenth- 
century  steel  gauntlets  is  repro- 
duced in  No.  i.,  and  another  in 
No.  ii.,  the  former,  which  are  the 
property  of  Mr.  David  M.  Currie, 
being  of  Italian  workmanship, 
damascened  with  gold,  while  the 
cuff  of  each  is  embossed  with 
the  figure  of  a  warrior,  long 
sword  and  shield  in  hand,  stand- 
ing between  two  bound  captives 
and  trophies  of  arms.  The  other 
pair,  which  are  damascened  with 
military  trophies,  wreaths  in 
gold,  palm  branches,  foliage, 
and  knots  in  gold  and  silver, 
and  lined  with  crimson  silk  em- 
broidered with  gold  and  silver 
thread,  are  Spanish. 

Gloves  have  also  played  their 
part  at  the  coronations  of  our 
kings  and  queens,  while  up  till 
i.Sji,  when  George  IV.  was 
crowned,  it  was  customary  for 
the  sovereign's  champion  to  ap- 
pear upon  the  scene,  mounted 
and  fully  armed,  and  to  throw 
down  his  glove,  thus  challenging 
any  bold  person  who  chose  to  dispute  the  accession. 
At  the  coronation  of  George  II.  the  ceremony 
was  marked  by  an  unusual  incident,  for  a  dark 
stranger  took  up  the  challenge,  and,  announcing 
himseif  as  the  champion  of  the  loose-living  Pre- 
tender, questioned  the  right  of  the  House  of  I  lain  .\  i  i 
to  the  throne.  The  result  of  the  rash  intruder's  inter- 
ference is  not  mentioned  in  history.  Judges,  too, 
gave  an  impetus  to  the  glove  trade  ol  former  days, 
for  though  their  use  was  not  permitted  in  court, 
should  the  assize  conclude  without  the  death  penalty 
being  ordered,  the  sheriffs  were  expected  to  pre- 
sent  the  humane  cadi  with  a  pan  ol  gloves.  When 
Jeffreys— most  brutal  of  all  brutes,  .mil,  according  to 
<  'harles  [I.,  having  "  more  impudenci  than  ten  carted 
street-walkers" — dispensed  injustice,  gifts  of  this  de- 
scription were  scarce ;  hut  in  the  reign  of  Henrj  VIII. 


)      \ 


NO.    III. — LINEN     GLOVJ 


they  changed  hands  frequently. 
Sir  Thomas  M  ore.  it  is  -aid- 
reci  ived  a  pair  I  rom  .1  M  rs. 
Croaker,  in  token  of  her  grati- 
tude at  winning  a  case  which 
learned  Lord  Chancellor 
decided  in  the   lady's  favour. 

"  It  would  lie  .1-  1:11-!  j 
ners,''  quoth  the  legal  luminary, 
"to  forsake  a  gentlewoman's 
gift,  and  I  accept  the  gloves; 
their  lining  you  will  be  pleased 
otherwise  to  bestow.''  The 
"  lining"  consisted  of  forty  angels 
— a  substantial  sum  in  those 
days.  Gloves  also  played  their 
part  at  royal  funerals,  a  writer  ol 
the  twelfth  century  chroni> 
the  fact  that  Henry  II.  was  bin  ied 
in  a  pair  ;  and  upon  the  tombs 
of  King  John  and  Edward  I. 
being  opened,  gloves  were  found 
upon  the  hands. 

Formerly,  when  the  ministra 
tions  of  the  Church  were  1  ai 
out  with  great  pomp  and  1  1  1 
mony,  the   pontifical    glove   was 
included    in   the  episcopal   in- 
signia.    Indeed,  the  abbots  who 
flourished  at    the   time   of  the 
[  Council   of  Poitiers  took    then 

\  dignity  so  seriously  that   tiny 

\  commandeered    the   gloves   to 

which  only  highly  placed  clerics 
were  entitled  —  a  breach  ol  de- 
corum w  hich  wa  s  \  isitcd  with 
dire  chastening.    It  maybenoted 

that  the  regulations  laid  down  by  the  Coum  il  oi  .\i\. 

a    body    of    ecclesiastics    holding    sway    in    the    ninth 

century,   were  exceedingly   strict:    the   august 
ordained   that   the  gloves  worn  by  monks  should 
ol  sheep-skin,  and  quite  plain,  while  those  intended 
for  the  use  of  the  higher  grades  mighl  bi    decorated 
11,  accordance  with   the    rank   of  the   pious  wea 
Apropos,  the   clerical  glove,  it  is  state. I  by  Surius  that 
when  St.  Gudula,  the  patroness  of  Brusseli 

101      thinking  to  pray  with  rvour,  the 

priest  who  conducted  thi    service,  hem!;  moved 

compassion,   placed    his   gloves   ol    Office    between   tin 
sainted  woman's   leet   and  the  Cold,  haul   Stone   Hour. 

i  ,11  atly  affronted  al  the  delicate  attention,  the 

nant  devol ptuouslyi mo  iling  high, 

upon  which  they  miraculously  remained   suspei 

in    the-   air    lor   one    hour. 


The    Connoisseur 


No.    IV. —  EMBROIDERED    MITTENS 

It  was  not  until  the  thirteenth  century  that  ladies 
took  kindly  to  wearing  gloves  as  part  and  parcel  of 
their  scheme  of  adornment,  though  for  some  four 
hundred  years  previous  to  this  period  the  fingerless 
variety  had  a  certain  vogue.  Upon  the  introduc- 
tion of  the  fingered  kind,  linen  —  oddly  enough  — 
was  the  chosen  material,  the  gloves  reaching  to  the 
elbow,  thus  foreshadowing  the  present  fashion.  Not 
till  Queen  Elizabeth's  time,  however,  did  the  ex- 
jantly  embroidered  and  richly  gemmed  variety- 
capture  woman's  fleeting  fancy.  Perfumed  gloves 
also  were  then  in  great  demand,  history  having  it  that 
when  the  dressy  sovereign  visited  Cambridge  a  local 


ELIZABETHAN    PERIOD 

dignitary  offered  her  "a  paire  of  gloves,  perfumed 
and  garnished  with  embroiderie  and  goldsmithe's 
wourke.  price  6os.v  Not  to  be  outdone  by  a  mere 
Cambridge  citizen,  Edward  de  Vere,  seventeenth  Earl 
of  Oxford,  also  rose  gallantly  to  the  occasion,  for  upon 
the  Royal  lover  of  finery  making  it  known  that  em- 
broidered gloves  found  favour  in  her  august  - 
the  tactful  peer  presented  the  vain  queen  with  so 
beautiful  a  pair  that  she  caused  herself  to  be  painted 
in  them.  Indeed,  Elizabeth's  infatuation  for  gloves 
almost  amounted  to  a  passion.  Mercenary  in  other 
respects,  she  would  expend  vast  sums  in  gratifying 
her  fastidious  taste,   frequently   wearing  them   when 


T/ic    History   of  the   Glove 


W 


NO.     V.    -  EMBRI  UDERED    GLOV] 

performing  upon  the  virginelle,  or  virginal,  as  thi 
quaint  musical  instrument  is  better  known.  "Sin. 
however,  put  them  off,"  we  are  told  by  a  humorous 
contributor  to  the  Court  Journal  ol  1830,  "when  she 
wished  to  display  her  ait  to  excess,  as  was  the  ease 
when  she  took  care-  that  the  Scotch  Ambassador 
should  overhear  her,  ami  whom  she  afterwards  asked 
if  his  mistress,  Mary  Stuart,  could  play  or  sing  as 
well."  These  sci  nted  gew-gaws,  by  tin-  way.  were 
kept  m  special  boxes;  and  a  female  official,  subordi- 
nate i"  the  mistress  of  the  robes,  and  known  as  "the 
mistress  of  the  sweet  coffers,"  had  charge  of  the 
odoriferous  fal-lals.  An  example  of  the  linen  i;lo\c 
to  which  reference  has  bee  n  made  is  shown  in  No.  iii., 
those  illustrated  in  Nos.  iv.  and  v.  being  of  the  Eliza- 
bethan period,      fudging  from  the  size  of  the  linen 


ELI7.ABE  I  II  w     PERIl  •  ]! 

specimen,  it  must   have   been  worn  bv  a  woman  with 
abnormally  large   fingers.      The   linen    is  hand  -n 
and   is   cm    on   the   cross,  while  the  Stitching    1-  verj 
iin-    and   somewhat   curious.      Xo.  iv.  represents  one 
of  a  pair  of  mittens,  the  material  being  crimson  velvet, 
embroidered    with    gold    and    silver   thread   and    --ilk. 
while  the  cuff — of  white  satin     is  equally  di  1  01  uivi 
I  h    :e  mittens  were  given  by  Queen  Elizabeth  t"  hei 
maid    of   honour,    Margaret    Edgcumb,    wit.     ol    Sii 
Edward  Denny,  Knight  Banneret.    The 
duced  in  X".  \.  aic  et  light  bri pv  n  leathi  1    with 
gauntlets   of  white  silk  embroidered   with 
silks,  silver-gilt,  silver  thread,  strips  and  spangles,  and 
dged   with   silver-gill    lai  e.      [ntei  is  the 

la;,    sixteenth -century  embroid  red    ;love   (tin 
pert)  ol    Hen   Spit;   1  1  to  he    seen  in  No.  vi.,  while 


No.   VI.— LATE    SIXTEENTH-CENTURY    EMBROIDERED    GLOVE 
SPITZER    COLLECTION 


is 


V 


p 

Q 


D 

- 


0 

— 
2 


O 

D 
H 
2 


f- 

z 
w 

Ex] 
H 

2    X 
W    -/■. 

J>    ■-; 

a  - 
j-.  - 

2 

>  w 

< 
U 


s  - 

:  5 

_  _• 
_ 


.  — 
:  c- 
2  O 


The    Connoisseur 


those  illustrated  in  Nos.  vii.  and  viii.  are  early  seven- 
teenth-century examples,  one  being  of  buff  and  the 
other  of  white  leather.     The  buff  pair  has  the  cuff 


added,  are  the  property  of — or  have  been  lent  to— 
the  South  Kensington  Museum. 

It   should  be  noted    that  at  this    time    perfumed 


rX. —  EMBROIDERED    GLOVES    GIVEN     BY     IAMES    I. 


TO    SIR     EDWARD    IiKNNV 


embroidered  with  silver  -  gilt  and  silver  thread  on 
crimson  silk,  and  in  the  white  leather  pair  the  simple 
and  effective  pattern  is  worked  in  silver-gilt  and  silver 
thread,  red  and  blue  silks,  and  spangles.  All  of  the 
above  are  English,  a  distinction  which  may  also  be 
claimed  for  those  reproduced  in  Nos.  ix.  and  x.,  the 
former  being  one  of  a  pair  given  by  James  I.  to  Sir 
Edward  Denny,  a  descendant  of  the  before-mentioned 
knight.  It  is  of  leather  embroidered  with  gold  and 
silver  thread,  having  a  cuff  decorated  with  gold  and 
silver  lace  on  a  crimson  silk  ground  and  fringed  in 
the  customary  manner.  The  gift  was  made  when  Sir 
Edward  (who  afterwards  became  Earl  of  Norwich) 
acted  as  sheriff  of  Hertfordshire  and  received  the 
king  on  his  arrival  from  Scotland.  The  leather  glove 
shown  m  Xo.  \.  is  mid-seventeenth  century,  and  is 
embroidered  with  silver-gilt  and  silver  thread  and 
coloured  silks.     Several  of  these  specimens,  it  may  be 


gloves  were  frequently  presented  by  the  various  bur- 
sars of  Oxford  University  to  distinguished  visitors. 
In  the  bursar's  book  of  1556,  for  instance,  may  be 
seen  the  entry,   "Pro  fumigatis  chirothecics." 

A  number  of  historic  gloves  are — happily — pre- 
served, amongst  them  being  a  fairly  short-wristed 
example  worn  by  Mary,  Queen  of  Scots,  and  now 
reposing  under  a  glass  case  at  the  Ashmoleai 
Museum.  A  white  leather  one,  which  belonged  to 
Queen  Elizabeth,  is  to  be  seen  in  the  Bodleian 
Library  ;  it  has  an  elaborate  design  in  gold  thread, 
an  edging  of  yellow  fringe,  and  a  lining  of  drab  silk. 
while  the  dimensions  are  so  generous  that  they  posi- 
tively put  to  shame  the  servile  flattery  of  time-serving 
courtiers — who  never  lost  an  opportunity  of  praising 
the  alleged  lilliputian  proportions  of  the  Royal  hands. 
Amongst  the  Ashmolean  Museum  treasures  mention 
may  also  be  made  of  the  Henrj  VIII.  hawking  glove, 


GEORGIAXA    DUCHESS   OF    DEVONSHIRE 
BY    SIR    JOSHUA    REYNOLDS 

In  the  collection  of  Etirl  Spencer,  K.G.,  at  Althorfi 


CccwcMisi 


The    History   of  the    {'-love 


from  the  shape  of  which  it  is  evident  that  the  sports- 
man-monarch  possessed  short  and  dumpty  digits,  and 
of  the  pair  worn  by  Shakespeare  and  presented  to 
Garrick  by  the  Mayor  and  Corporation  of  Stratford- 
on-Avon.  Thesi  glovi  are  in  the  possession  of  Miss 
Frances  B(  nson.  It  should  be  pointed  out  that  with 
thi  advi  in  of  the  Georges  the  decorative  glow-  with 
the  long  wrist,  beloved  by  Queen  Anne  and  her  court. 
began  to  lose  favour;  and  when  the  Prince  Regent 
spent  sleepless  nights  and  long  days  in  a  fruitless  en- 
deavour to  cut  out  poor  Beau  Brummel  as  an  arbiter 
itiarum,  the  evolution  had  reached  a  point  which 
differs  little  from  the  present  fashion.  Indeed,  the 
gloves  used  by  George  IV.  and  "  Perdita  "  bore  a  close 
resemblance  to  the  variety  which  is  in  vogue  to-day. 


There  are  many  ancient  customs  connected  with 

the   history   of  the  glove.      Hoydenish  damsels  who 
sat  on  the  table  might  be  kissed,  or  pay  forfeit  with 
a  pair  of  gloves;  and  a  commoner  who  dared  enter 
tiie  st  a  I  iles  of  a  German  or  French  nobleman  without 
removing    his    gloves    either    handed    the    offending 
articles  of  attire  to  the  grinning  groom  or  subn 
to  a   tine.      In  different   parts  ol    El  -<'pe  the  transfer 
of  land  was  accompanied  by  baring  the  hands,  while 
in    several    English    country    towns     the    authorities 
announced  the  fair  by  hoisting  on  a  tall,  decorated 
pole   an    immense   glove,   carrying    it   through 
thoroughfare.       It   also   was   customary   for   km 
send  a  glove  as  a   sign-manual  when  assenting  to  a 
request. 


»  1 


1 


NO.  X.       MID-SI  [-CENTURY  LKATI 

WITH    SILVER     rilREAI)     VND   COI.Ol   REIl   SII.KS 


1    i 


4 


i 


>j^WKW.5' 


4^ 


.  i 


V 


iL 


No.   I.— MANTELPIECE    IN    "CHIPPENDALE    ROCOCO,"   IN    CARVED    PINE 

FROM    WINCHESTER    HOUSE,'  PUTNEY,     1750-60 


14 


The  Years  of  Mahogany  Part  XI.  The  Director 

Chippendale  Chair  By  Haldane  Macfall 


Let  us  glance  over  the  Director,  first  noticing 
the  general  differences  of  the  three  editions. 

The  first  edition,  published  on  the  23rd  of  March, 
1  754,  with  a  list  of  312  subscribers,  contains  nominally 
160  plates:  but  as  plate  xxv.  is  twice  employed,  it 
contains  really  161  plates.      It  cost  £2   8s. 

The  second  edition,  published  in  1759.  was  exactly 
like  the  first,  except  for 
unimportant   details  on 
title-page  and  the  like. 
It  cost  ^3,  or  3  guineas. 

The  third  edition, 
published  in  1702.  was 
much  altered  in  its  pre- 
face ;  several  plates 
disappear:  and  it  is 
illustrated  now  with  a 
reputed  200  plates  ;  but 
as  plates  25,  36,  45-  4'). 

6/,  6§,  153.  159-  l67, 
171,  179,  and  187  are  re- 
peated numbers,  it  really 
contained  212  plates. 
It  cost  ,£3    13s.  6d.,  or 

\\    guineas. 

NOW    to    get     tO    what 

the  first  edition  of  the 
/>.■,,  tor  has  to  tell  us 
of  Chippendale's  design. 
First  of  all.  sitting  aside 
the  "live  orders  of  an  hi- 
tecture  "  —  his  Tuscan, 
1  )oric,Ionic,  Corinthian, 
and  ( Composite — which 
arc:  the  clap-trap  of 
tin-  time,  except  lor  the 
fact  that  it  points  to  the 
1  rafl  smen  1  onsi  dering  ■  irdin  \ry  u 


architecture  as  the  background  of  their  intention,  we 
come  to  a  sort  of  basic  design  of  a  chair  with  much 
talk  of  perspective — a  plate  that  has  never  received 
the  attention  it  deserves.  This  shows  in  a  perspective 
kev  that  Chippendale  looks  at  the  foundation  of  a 
chair  as  rectangular  in  the  back-rest,  that  the  splat  111 
the  back  is  founded  upon  a  flat-vase  shape,  that  the 

legs  as  seen  from  the 
front  are  straight  ami 
rectangular :  whilst  we 
see  also,  sideways,  how 
the  back  of  the  seal 
rakes  up  and  away  from 
the  perpendicular,  like- 
wise that  the  ball  legs 
rake  down  and  away 
from  the  perpendicular, 
but  that  the  front  legs 
stand  111  tin-  perpendicu- 
lar. Then  to  this  basic 
i  dea  of  the  cha  i  r  he 
brings  t  he  elegam  <  ol 
his  design,  and  he  shows 
his  mind  worki  ng  1  iUt 
an  elaborate  pattern 
within  the  basic  outlines 
of  his  foundations— the 
I,.].  iail  of  tin'  bai  k  takes 
on  tin  cupid's  bow  ;  the 
splat  i s  pi erced  and 

1  arved  a  Is.,,   that    is   to 

say,   the  design   of   the 

splat  is  contained  within 

lb,     OUtlin  e    ot    a    vase. 

pierced   01    carvi 

plain  "a<  cording  to 
tasti       at  d  the  straight 

PENDALE   CHAIR    FOI  ,  .  , 

be,    175 leSs  have  stretchers  '"' 


The    Connoisseur 


No.    III. — CHIPPENDALE    CHAIR    OF    I75O-60, 
WITH    "RABBETED"   SEAT    FRAME 

strength.  The  seat  drops  into  the  seat  frame.  All  this 
is  particularly  instructive,  since  we  are  to  see  the  cabriole 
Ax  give  way  largely  during  this  decade  of  /~jo  60  to 
the  straight  square  leg,  and  with  this  Ax  the  banished 
stretcher  is  to  return  and  take  possession  of  the  chair. 

Then  in  this  first  edition,  which  gives  us  Chippen- 
dale's ideas  in  1754,  we  find  the  designs  of  chairs 
on  fourteen  plates:  and  it  is  worth  noting  (1)  that 
plates  xii.  to  xv.  show  three  chairs  to  the  plate,  in 
all  twelve  of  what  he  simply  calls  "chairs"  :  (2)  the 
next  plate,  xvi.,  shows  three  "  ribband-back  chairs  "  ; 
(3)  the  next  four  plates,  xvii.  to  xx.,  show  his  so- 
called  "French  chairs,"  but  in  these,  as  we  shall  see, 
are  three  very  distinct  and  different  types:  (4)  the 
next  two  plates,  xxi.  and  xxii.,  show  "Gothic/;  chairs" ; 
and  (5)  the  remaining  three,  plates  xxiii.  to  xxv.. 
show    "  Chinese  chairs." 

So  that  we  have  seven  very  marked  styles  of  chairs: 
if  we  add  the  "ladderbacks,"  which  he  made  but  did 
not  illustrate,  we  have  eight  types  in  this  decade.  We 
can  do  worse  than  take  these  chairs  in  Chippendale's 
order. 

But  let  us  note  as  we  go  that  Chippendale  con- 
stantly reminds  his  patron  that  his  design  need  not 
be  carved  so  elaborately  as  the  pattern,  as  the  plain 


NO.    IV.   -CHIPPENDALE   ARMCHAIR    OF    1750-60, 
WITH    "  R  W.VV.  I  ED  "   SEAT    I-  K  Wll. 

design  will  hold  the  innate  grace  of  the  pattern — in 
other  words,  he  is  all  the  while  making  the  more 
elaborate  chairs  for  the  nobility  and  gentry,  and 
the  plainer  chairs  for  the  solid,  well-to-do  middle 
class.  Not  only  so,  not  only  does  he  cater  for  all 
classes,  but  he  designs  with  eye  to  the  sort  of  use 
to  which  the  chair  is  to  be  put.  The  dining-room 
1  hairs, — or,  as  he  puts  it,  "fit  for  Eating- Parlours  "- 
were  evidently  leather-seated  by  preference  ;  whilst 
of  his  "Chinese''  chairs  he  tells  us  that  they  had 
" commonly  cane  bottoms  with  loose  cushions,''  but 
could  have  "  Stuffed  Seats  and  Brass  Nails,"  and  he 
considers  them  "  very  proper  for  a  Lady's  dressing 
room"  (which,  be  it  remembered,  was  in  the  seven- 
teen-hundreds  largely  her  drawing-room) — "especially 
if  hung  with  India  paper."  And  it  should  also  be 
noted  that  he  definitely  lays  down  the  rule  of  the 
brass-nailed  seats  (that  is  to  say.  upholstered  seats 
that  are  nailed  to  the  woodwork)  being  of  the  same 
material  and  colour  as  the  curtains.  Whilst  in  his 
"French"  chairs,  as  we  shall  presently  see.  whereby 
he  evidently  meant  the  upholstered  back  and  seat 
with  carved  framing  woodwork,  the  fabric  should  be 
tapestry  "or  other  needlework."  He  also  gives  in 
the  third  edition  designs  of  chairs  with  wooden  seats 


in 


The    Years   of  Mahogany 


No.  V.  MAHOGANY  CHIPPENDALE  CHAIR  01  L750-60, 
\VI  I  !I  "SI  I'll  ED  SEAT"  \M>  "  A.NGL]  BRACKETS"  I" 
LEGS  FROM     nil:   COLLECTION    "1-    5IR    EDMUND 

HI  IPE    VERNEY,    I.  Ml. 

for  •"halls,  passages,  ami  summer-houses,'  but  this  in 
another  story.  And  another  fact  which  emerges  and 
is  repeatedly  insisted  upon  by  Chippendale  is  his  lure 
to  his  patron  that  he  is  great  on  "variety" — which 
is  to  say  that  he  is  no  purist,  but  will  give  you  a 
French  leg  to  a  Chinese  body  that  is  not  innocent  ol 
"  ( lothick  "  intention  ! 

So  far,  in  Chippendale's  own  hand,  he  wrote  down 
lor  us  his  intention  and  his  "  taste.  '  Let  us  see,  in  the 
designs  he  approved,  what  new  lorms  he  gave  to  the 
chairs  of  1750  60.  We  must  not  be  confused,  however, 
by  the  fact  that  Chippendale  show  on  each  drawing 
of  a  chair  different  legs  and  differ  nl  1  arvings,  not  as  a 

part  of  his  infinite  "variety,''  but   to  give  a  1  I to 

his  patrons.  The  same  caution  holds  as  n  gards  the 
variants  in  the  carving  and  dei  oration,  even  sometimes 
of  the  actual  form,  of  the  two  sides  ol  the  (hair. 

Let  us  then  to  the  Chippendale  Director  chairs, 
disregarding  all  othei  furniture. 


NO.  V]        1   llll'llMi  \I  I      VRM  CHAIR   Ol      I75O-60,    WITH 

'•    I  I  1  I  I  I      II 

FROM      I  UK    COLLECTION     '  'I     SIR     SPENCER     PONSONBY- 
FANE,    K.C.B. 

First,  the  Chippendale  "chairs"  of  the  type  from 
thedecadeih.il  goes  before  show  more  slenderness, 
Imi  continue  the  elaborately  carved  <  lipid's  -bow  top- 
rail  and  splat:  whilst  the  upholstered  seat  is  n 
with  brass  nails  in  one  or  two  r.m  .  -1  in  a  pattern  to 
mutate  the  design  oi  .1  fret,  as  Chippendali  lays  down, 
liut  it  is  necessary  to  note  that  whilst  Chippendale 
still  largely  employed  the  claw-and-ball  foot  to  the 
carved  cabriole  legs  of  his  nice  1  laborat  1  hail 
Director  does  not  give  one  instance  of  it,  but  tends 
towards  the  cabriole  h  2  1  nding  in  the  French  scroll  ! 
Evidently  the  claw-and  ball  was  nol  the  latest  tl 

In    fact,  it    does   not   appeal    cither    in    Chippendale's 

noi  in  any  other  maker's  books  of  published  designs 
ol  this  age  ;  yet  we  find  that  in  prai  nee  it  was  widely 

Hen    in   th    e  chairs  1"    poinl  -  out  that,  without 
1  an  ing,  a  g 1  workman  can  still  1 

his  design.       And  it  is   ol    these   chairs   that  he  speaks 


The    Connoisseur 


NO.    VII. — CHIPPENDALE    CHAIR    OF    1750-60, 
SHOWING    THE   COMING   OF   THE    RIBBAND-BACK 


as  being  "stuffed,"  with  covering  of  the  same  colour 
and  material  as  the  curtains.  It  is  noteworthy  that 
Chippendale  does  not  call  these  chairs  "French 
chairs,"  though  the  French  influence  of  Louis  XV.  is 
quite  pronounced  in  the  legs  !  By  "French  chairs," 
as  we  shall  see,  he  meant  a  very  markedly  different 
thing. 

As  regards  actual  development — true  evolution — 
we  ought  to  consider  the  famous  "  ribband-back " 
Chippendale  chair,  which  is  but  the  perfecting  and 
climax  of  the  cupid's-bow  Chippendale  of  this  decade, 
made  for  his  more  illustrious  and  wealthier  patrons  ; 
indeed,  it  comes  next  in  order  in  the  Director.  But 
before  doing  so  we  must  look  at  his  work  as  a  whole. 

There  is  one  development  in  all  types  of  Chippen- 
dale chairs  of  this  Director  decade  which  is  very 
remarkable — we  find  everyone  of  the  types  which  we 
are  about  to  consider  being  made  with  the  straight  leg. 
And  it  should  be  particularly  noted,  to  save  confusion, 
that  all  the  several  styles  were  much  mingled ;  yet  this, 
once  grasped,  nevertheless  helps  us  to  place  the  date 


No.  VIII.  — WALNUl  CHIPPENDALE  CHAIR  OF  1750-60, 
SHOWING  FURTHER  DEVELOPMENT  TOWARDS  THE  RIBBAND- 
BACK  IN    THE    POSSESSION    OF    THE    DRAPERS'   COMPANY 

of  the  chair  in  its  decade.  The  cabriole  leg  continues 
in  the  more  expensive  and  very  elaborately  carved 
forms  all  the  time,  'tis  true  ;  but  the  straight  leg  came 
so  much  into  the  vogue  that  it  dominates  the  type  of 
the  decade — and  even  the  most  elaborate  "  ribband- 
backs  "  were  often  set  on  the  plain,  straight  square 
leg.  To  understand  precisely  what  led  to  this  sudden 
vogue  we  must  just  for  a  moment  drag  the  two  crazes 
for  the  "Gothick"and  the  "Chinese"  out  of  their 
order.  The  "Gothick"  and  "Chinese"  had  come 
upon  the  town,  and  in  examining  both  crazes  in  their 
order,  we  shall  be  struck  by  the  fact  that  the  "Chinese 
taste  "  undoubtedly  had  much  to  do  with  the  creation 
of  the  French  "rococo"  under  Meissonier — a  rococo 
that  bears  no  relation  to  the  rococo  of  the  Italian 
after-Renaissance,  but  which  invaded  London  about 
the  mid-century,  and  upon  the  graceful  curves  and 
fantasies  of  which  we  shall  see  Chippendale  fastening 
with  eagerness,  and  out  of  it  creating  the  style  which 
above  all  others  is  associated  with  his  name — chiefly 
probably  on  account  of  his  famous  mirrors. 


18 


The    )  'cars   of  Mahogany 


NO.    IX.  —  CHIPPENDALE    RIBBAND-BACK    CHAIR 
OF    1750-60 

The  "Gothick"  and  "Chinese''  with  the  French 
"rococo"  being  the  basic  cause  of  the  wide  changes 
wrought  in  Chippendale's  design  at  the  mid-century, 
it  is  necessary  here  to  notice  that  the  essential  cupid's- 
bow  Chippendale  chair  took  on,  instead  of  the 
cabriole  leg  with  its  claw-and-ball  foot  or  club  foot, 
a  straight  square  leg,  mostly  quite  plain.  That  this 
straight  square  leg  came  in  two  or  three  years  before 
the  publication  of  the  Director  is  certain  —  we  have  the 
same  bark  designs  bearing  both  the  1  abi  iole  and  tin- 
straight  leg.  Indeed,  except  when  we  get  the  straight 
leg,  the  types  of  the  chair-backs  of  the  ordinary 
(  'hippendale  chair  are  so  close  to  those  oi  the  decadi 
that  went  before  (1740-50)  that  it  must  ever  remain 
largely  but  guesswork  a^  to  which  of  these  ordinary 
chairs  belong  to  the  Director  decade  of  [750-60,  and 
which  to  the  decade  before,  except  thai  slenderm 
increases  and  the  carving  is  more  graceful  and 
delicate,  whilst  a  certain  sign  of  the  Director  decadi 
is  the  beautiful   "applied  fret"  carving  to  the  fronl 


Nn.    X.   -CHIPPENDALE    RIBBAND-BACK    CHAIR   OF    1750-60 
IN    THE    POSSESSION    OF    IIIF.    EAR]     .  IN  IKY 

of  the  seat-rail  or  to   the   uprights  of  the   back  ;  also 
any  suggestion   in   the   tracery  of  the  stonework   of  a 
Gothic  window  in  the  pierced  ami  carved  splat  makes 
it  .1  certain  product  of  the  Directordeca.de,  for  n 
that  we  will  presently  see.      The  dolphin  foot  is  also 
of  the  Director  decade,  coming  in,  it  is  said,  about 
1755  (the  latter  half  of  it  l,  though   I   have  ne\    i 
hail  any  proof  of  this,  and  see  no  reason  for  il 
being  done  from   i  750. 

The  second  i)  pe  of  Chippendale  chair  of  the  Director 
decade  i^  the  "ribband-back"  chair,  in  which  we 
arrive  at  the  achievement  ol  Chippendale's  supreme 
intention  ol   grace  and  variety  '     ful    pattern  and 

exquisite  carving,     for  the  --eat  of  the  ribband-back 

he  decides  the   best   to  be  red  moi Now   the 

ribband-back    developed    perfectly    naturally  out   of 
ypical    Chippendale   cupid's-bow    chair  of  the 

preceding  de<  ade,  ami   thi     iccenl    ol    ', :n   Ann, 

is  still  over   it.      This  chair,   the  supreme  effort  ol 
Chippendale's    genius,   is   naturally  the  rarest.       It- 


to 


The    Connoisseur 


cost  must  have  been  very  great.  A  fine  ribband- 
back,  with  its  exquisitely  carved  seat-rail  at  the  edge 
ol  the  rebate  where  the  seat  drops  in,  and  its  finely 


marked  than  in  tile  fact  that,  whilst  lie  made  his  best 
pieces  with  the  claw-and-ball,  he  drew  them  without  ; 
but  it  is  also  significant  in  that  he  decided  that  his 


NO.    XI.— THE    MAHOGANY    CHIPPENDALE    "1-1; 
AN    INN    OF    CHANCERY,    NEWCAST1 

i  arved  gadroon  edge  beneath,  with  its  richly  wrought 
cabriole  leg  and  claw-and-ball  foot,  with  the  delicate 
tracery  and  carving  of  the  back,  is  a  triumph  of 
strength  united  with  beauty  of  design  such  as  worthily 
crowned  the  achievement  of  a  man  who  was  soon  to 
be  elected  to  the  Society  of  Arts.  Now  the  difference 
between  the  Thomas  Chippendale  of  the  Director  and 
the  Thomas  Chippendale  of  practice  is  nowhere  more 


l.N.  ll    .  HAIR       OF    THE    PRESIDES!    OF    LYONS    INN. 
E   STREET,    STRAND,    LONDON,    1750-60 

ribband-backs  should  be  seated  with  red  morocco, 
for  Cescinsky  tells  how,  after  careful  examination,  he- 
has  never  vet  found  such  a  chair  seated  with  red 
morocco,  nor  with  any  sign  of  the  close-nailing  that 
was  an  essential  at  this  time  for  holding  down  red 
morocco.  And  I  can  remember  a  great  house  in  the 
North  where  I  spent  more  than  one  happy  day  in  my 
youth,  where  there  were  not  only  the  original  accounts 


The    Years    of  Mahogany 


from  Chippendale  still  to  be  seen  in  their  faded 
slender  scrawl,  but  when-  there  must  have  been  at 
leasl    three  or  four  dozen  of  these  superb  ribband- 


in  order  in  Chippendale-  book  makes  it  certain 
that  they  were  being  made  from  about  1750.  It  is 
worth  noting  that  in  the  first  edition  ol  the  Director 


No.    XII.      CHIPPENDAI.1     "FRENCH    CHAIR"  OF     17SO-60  IN     MIE  POSSESSION   Ol      ITIONI 


back  chairs  put  away  in  the  upper  rooms  because 
of  a  loose  Or  broken  leg,  or  some  such  defect.  But 
1  have  no  recollection  of  any  single  one  ol  them 
having  had  a  red  morocco  :eat;  indeed,  most  ol 
them  had  rich  silken  seats  of  a  deep  crimson  clour. 
However,  the  facl  remains  that  the  creator  of  them 
considered  that  red  morocco  was  theil  ideal  seating. 
It   may   lie   taken  as  certain   thai    most    ribband-backs 

belong    to   the    latter    half  of   the    Director   decad 
(1755    60),   and    would    perhaps    be    better    dated    al 
1755  r,5  •  but  the  mere  fact  thai  the]  '-'11 in 


of  1754.  one  plate,  numbered  x\i..  is  given  to  the 
ribband-back,  showing  three  chairs,  all  ol  which  an 
cabriole-legged  in  the  "  French  1 

The  third  type  "i   Chippendale's  chairs  he  calls 
■■  French  chairs." 

We   have    seen    the    square,    pomp 
Louis  XIV.  driven  oul  ol   fiance  bj  the  "elegance 
..I   the   Regent,  whose  ht    in  the 

slender    gn I    the    taste    ol     Louis    XV.'s    long 

reign. 

By  •■  I  n  in  I'  1  hail       I  hippend  lie  clearl;   did  not 


The    Connoisseur 


NO.    XIII.— CHIPPENDALE   "FRENCH    CHAIR"  OF    1750-60 
IN    HIE    POSSESSION    OF   THE   IRONMONGERS'   COMPANY 

mean  the  graceful  cabriole  leg  of  the  Louis  XV. 
"taste,"  which  had  already  long  influenced  his  de- 
sign, but  seems  to  have  applied  the  term  to  such 
chairs  as  had  the  typical  French  form  of  the  up- 
holsterer's oval  or  rounded  back  contained  within  a 
carved  framework,  with  an  upholstered  seat  also 
carved  as  to  its  framework.  This  chair  he  clearly 
especiallv  designed  for  drawing-rooms  or  reception- 
rooms  :  and  he  definitely  says  that  the  coverings 
should  be  damask,  leather,  "tapestry,  or  other 
needlework."  In  fact,  the  Director  would  seem  to 
make  it  evident  that  all  upholstered  chairs  with 
framings  of  carved  woodwork  were  the  "French 
taste"  in  Chippendale's  eyes.  For,  if  we  glance  at 
the  plates  in  the  first  edition  which  he  labels  as 
"French  chairs"  (the  four  plates  xvii.,  xviii.,  xix., 
and  xx.),  we  find  that  there  are  three  types. 

(1)  There  is  the  typical  "Louis  XV."  chair,  as 
we  now  call  it,  in  which  the  back  is  an  upholstered 
(or  "stuffed")  oval  or  round  or  square  with  rounded 


No.    XIV. — CHIPPENDALE   "STUFFED   CHAIR"  OF    1750-60, 
SHOWING    THE    "DOLPHIN    LEGS" 

corners.  These  "stuffed"  backs  are  framed  in  carved 
woodwork,  which  joins  them  to  the  seating  part  of 
the  chair  with  carved  "uprights,"  leaving  an  open 
space  between  the  back  and  the  seat ;  whilst  the 
"stuffed"  seat  has  its  carved  framework,  which  is 
legged  with  carved  cabriole  legs  ending  in  carved 
scroll  French  feet.  This  "French"  Louis  XV.  chair 
remained  the  "drawing-room  chair"  into  our  own  day. 

(2)  There  is  the  halfway  upholstered  chair  from  our 
old  English  "grandfather"  to  this  French  "Louis  XV.." 
in  which  the  "stuffed"  back  and  seat  meet  without 
open  space  between  ;  but  the  upholstered  back  is 
framed  with  carved  woodwork  like  the  seat,  the  legs 
being  carved  cabrioles  with  French  scroll  feet.  This 
chair  is  simply  a  development  of  the  stuffed  "grand- 
father" that  we  have  had  from  Queen  Anne's  days, 
through  the  "lion  mahogany"  onwards,  of  which  the 
Percival  Griffiths  collection  shows  such  fine  examples, 
which  will  be  familiar  to  my  readers. 

(3)  Then  we  have  what  is  usually  looked  upon  as 


The    Years   of  Mahogany 


NO.    XV. — WALNUT    CHIPPENDALE    "STUFFED    CHAIR"    OF 

1750  60.    SHOWING    ANGLE   BRACKETS   TO   LEGS 

IN  THE    POSSESSION   OF   MK    EDMUND   HOPE    VERNEY,  BART. 

the  Chippendale  "  stuffed  "  chair,  in  which  the  stuffed 
back  and  seat  meet  without  open  space  between,  the 
top  of  the  back  usually  "  shaped"  in  the  cupid's-bow 
wave,  the  carved  arms  stuffed.  The  legs,  when  straight 
legs,  are  stretchered.  Usually  the  more  important 
pieces  have  carved  cabriole  legs. 

But — and  note  this  well  —  in  all  these  "stuffed" 
chairs  the  carving  of  the  woodwork,  wheresoever  there 
is  carved  woodwork,  is  always  either  markedly  "rococo" 
or  the  beautiful  low-reliefed  "applied  lattice-fret,"  or. 
as  it  is  technically  called,  "  card-cut,"  which  we  are 
about  to  see  as  coming  from  the  "Chinese  taste." 

Before  leaving  the  three  types  of  "  stuffed  "  chairs 
which  Chippendale  clearly  considered  the  essential 
"  French  chair,"  it  is  well  here  to  touch  upon  the 
development  of  the  English  "Queen  Anne  grand 
lather"  or  "  cosv  "  chair  of  this  decade.  Chippendal 
reduces  its  size  considerably  during  the  decade,  and 
makes  its  carved  legs  more  slender;  whilst  we  find 
the  straight  leg  being  freely  used.  But  the  "square 
back"  must  not  be  taken  to  mean  a  straight  line  to 
the  top  of  the  chair,  which,  as  a  matter  of  fact,  usually 
follows  the  curves  of  the  Chippendale  " cupid's-bow  " 
line. 

The  upholstered  (or  "stuffed")  stoolsalsotookon  the 
straight  leg.    Indeed,  the  straight-legged  Chippendale 


No.    XVI.— CHIPPENDALE    "  STI   Ml!'    ARMCHAIR 

of    1750-60 

I-  Ri  im     I  III-.    LONG    GAL]  ERY     M     HAM    II'  'I  SE 

•'square-back"  stuffed  (hair  remained  the  ordinary 
easy-chair  of  1750  to  1760. 

When  you  get  the  Chippendale  "  stuffed "  chairs 
(or  "  French  chairs")  in  "a  set  of  three ''—armchair, 
armless  chair,  and  stool — you  have  probably  got  .1 
Chippendale  "day-bed''  or  "chaire  long,"  for  they 
were  made  to  put  together  as  such,  a  very  favourite 
use  in  France  even  down  to  our  own  day,  and  a  most 
useful  arrangement. 

Needlework  was  now   rarel)  used,  these  "stuffed 
chairs  being  almost  invariabu  1  overed  with  damask. 

I  give  as  illustrations  to  help  the   student,  tn 
frontispiei  e,  .1  superb  example  of  typical  Chippendali 

"1 co     curving   in  a  mantelpiece   of  superb  di   ligfl 

from  VVinchestei  House,  Putney,  made  of  carved  pine. 
This  is  a  magnificent  example  of  what  is  meant  by 
"Chippendale  rococo,"  and  gives  the  typed  design 
which  to  the  ordinary  man  used  to  mean  "Chi] 

dale."     As  to  the  origin  of  " Chippendale  1 o,'    I 

shall   have  more  to  say  in  the   next   article.      I  would 

only  point  out  that  it  hears  no  relation  to  the  "  ro< 

ol    tli-'    Italian  design  alter  the    Renaissance.     The 
chairs  show  the  ordinary  Chippendale,  the  "ribband- 
hack,"   four   so-called   "state  chairs,"  giving   typi 
thi  more  elaborate  "  French  chairs,"  and  two  ordinary 
"  stuffed  "  or  upholstered  chairs 


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WHAT    YOU    WILL 

BY    AM)      UTKR    .1.     R.     SMITH 


On  the  Collecting  of  War  Medals 


Part  II. 


By  W.  E.  Gray 


The  Punjab  campaign  in  18411  was  rewarded 
by  a  handsome  medal  of  the  usual  size — obverse,  head 
of  the  Queen;  reverse,  a  fine  representation  of  the 
Sikhs  laving  down  their  arms  to  the  victorious  general, 
the  British  army  being  drawn  up  in  the  background. 
The  ribbon  is  dark  blue,  with  yellow  edges.  There 
are  three  clasps,  two  being  the  most  to  one  medal, 
ombinations  issued  being  six. 
The  medal  for  the  New  Zealand  war  1 1845  47  )  diffei  - 
from  others  by  having  the  year  of  the  campaign  on 
the  reverse,  within  a  wreath  :  and  on  the  obverse  is 
the  head  of  the  Queen,  with  crown  and  veil.  The 
same  medal  was  used  for  the  New  Zealand  war  ol 
1860-66.  Ribbon  dark  blue,  with  broad  crimson 
down  centre. 
In  184-  Her  Majesty  commanded  that  the  services 
of  those  veterans  who  had  fought  in  the  great  wars  of 
1804-14  and  in  Egypt  (1801)  should  be  recognised 
by  the  bestowal  of  a  medal  for  their  services  rendered 
to  Her  Majesty's  predecessors.  The  medal,  which 
was  designed  by  Mr.  Wyon,  was  struck  at  the  Mint, 
and  is  known  as  the  Military  General  Service  Medal. 
On  the  obverse  is  the  head  of  the  Queen  crowned, 
and  date  1S4S:  on  the  reverse,  the  Queen  in  tin  ai  1 
df  crowning  with  laurel  the  Duke  of  Wellington  as 
representing  the  Army  ;  the  great  warrior,  in  full  uni- 
form and  wearing  his  decorations, is  kneeling  to  receive 

the  reward.  The  medal  is  tile  usual  [f-inch  si/,',  the 
ribbon  crimson,  with  blue  edges,  1]  in.  wide.  The 
numbi  r  of  clasps  issued  was  twenty-nine,  and  the  com 
binations  are  practically  endless,  as  although  nearly 
fifty  years  had  elapsed  since  some  ol  tin  ei  ag<  ments, 
ii<  arly  twenty  thousand  claimants  proved  their  claim  to 
rea  ive  it.  The  greatest  number  of  clasps  given  with 
any  one  medal  was  fifteen  ;  tor  this  number  there  were 
six  applicants,  but  only  two  established  thi  ii  1  laim. 

The  great  services  of  the  Navy  were  a!  nised, 

the  survivors  of  that  great  period  in  the  history  of  the 
Kriusli  Navy,  1795  181(1.  receiving  the  handsome 
Naval  General  Service  Medal.      The  medal  has  the 


same  obverse  as  the  one  issued  to  the  Army  :  on  the 
nwerse  is  Britannia  seated  on  a  sea-horse,  in  her 
right  hand  a  trident,  in  her  left  an  olive  branch. 
The  ribbon  is  white,  with  blue  borders.  The  clasps 
are  similar  in  size  to  those  of  the  Military  General 
Service  Medal,  and  are  over  230  in  number.  They 
represent  general  engagements,  engagements  between 
single  ships,  and  a  very  interesting  series  for  boat 
actions,  these  latter  being  awarded  only  to  those 
actually  engaged  with  the  boats.  More  than  twenty 
thousand  old  sailors  established  their  claim  to  the 
medal,  five  clasps  being  the  greatest  number  given 
with  any  one  medal.  I  have  an  interesting  case  in 
my  collection  of  one  man  receiving  two  medals  of  this 
series,  one  with  three  clasps  and  another  with  one. 

The  stirring  events  in  India  (171)9  1826) 
followed  also  bya  late  distribution  of  medals  in  1851. 
on  similar  lines  to  those  of  the  Army  and  Navy  in 
1848.  The  medal  was  worn  from  a  pale  blue  ribbon, 
and  has  the  same  head  of  Her  Majesty  on  tin  1  ib\ 
un  the  reverse  is  a  figure  ofVii  'em'  seated,  in  her  left 
hand  a  wreath,  in  her  right  an  olive  branch,  Oriental 
ery  being  in  thi  and.     Twenty-one  clasps 

were  issued  to  this   medal,   live   being   tin    gn 
number  to  one  medal. 

These  three  retrospective  medals  an  t  the 

most    beautiful   of    the    many    tine    spei  tmens  of  the 
die-sinker's  art    issued    during   thi  il    her   late 

Majesty.      The   numbers   issued   are   so   large,    the 
vai  iet)  of  clasps  and  combinai    1       0    reat,  thai 
three  series  alone  offei    the  collectoi   a   practically  in 
exhaustible  field  in  win-  h  to        rcise  his  talent      '  > 

I    the   naval  clasps   only   two   were   issu,  , 

others  only  three,  lour,  and   s,,  on  :    SO  thai  a  collector 
must  often    wait  vears   b  ong-desired  clasp  is 

obtainable,  and  even  then  the  competition  to  obtain 
it  is  great,  and  the  prices  run  high. 

These  medals  a,,- 1  agi  rlydi    ired    ■■  ■<  0  I  ■  ■     ei 
and    usually  form    thi    backbone  of  the   collection. 
Many  havi   been  absorbed  in  well  known  1 


27 


The   Connoisseur 


others  are  highly  prized  by  the  families  of  the  re- 
cipients,  and,  no  doubt,  many  have  been  lost  or 
melted  for  the  value  of  the  silver  in  the  early  days 
before  collecting  them  was  begun. 

The  medals  for  the  Crimea  and  the  Indian  Mutiny 
are  more  familiar,  from  the  fact  that  we  have  a  great 
number  of  the  brave  men  who  earned  them  still 
amongst  us.  The  clasp  of  the  Crimean  medal  is  very 
striking,  being  in  the  form  of  oak  leaves  and  acorns. 
The  clasps  are  five  in  number,  and  the  combinations 
are  twenty-two.  The  ribbon  is  light  blue,  with  yellow 
edges.  A  special  medal  was  issued  to  the  Navy  for 
services  in  the  Baltic.  Medals  were  also  bestowed 
by  the  Emperor  of  the  French,  the  King  of  Sardinia, 
and  the  Sultan  of  Turkey. 

The  Indian  Mutiny  medal  is  one  highly  prized  by 
the  collector,  and  is  one  of  the  most  striking  in  design. 
The  ribbon  is  white,  with  red  edges  and  stripes.  The 
number  of  clasps  issued  was  five.  Four  is  the  greatest 
number  to  one  medal.  Only  a  few  men  in  the  Bengal 
Artillery  are  entitled  to  this  number.  The  total  com- 
bination of  the  clasps  of  this  medal  is  sixteen.  This 
medal  to  the  Naval  Brigade  is  most  rare.  The  war 
in  China  (1857-60)  was  marked  by  the  renewal  of 
the  medal  of  1S42  without  the  date,  but  with  clasps. 
These  are  six  in  number,  and  the  combinations  are 
very  great.  Medals  with  five  clasps  are  occasionally 
met  with. 

The  medal  for  the  South  African  wars  (1877-80) 
is  the  same  as  that  issued  in  1853,  without  the  date 
in  the  exergue.  There  is  only  one  clasp  to  this  medal, 
which  bears  the  years  of  the  campaign  in  which  the 
recipient  was  engaged. 

The  Indian  General  Service  Medal  was  in  use  from 
1S52  to  1895.  The  first  clasp  is  Pegu,  the  last  Jl'azi- 
ristan,  1894-95.  The  clasps  issued  number  twenty- 
one,  and  the  combinations  are  endless.  Seven  clasps 
to  one  medal  is  the  greatest  number,  General  Sir 
William  Lockhart  having  this  number. 

The  design  of  the  medal  for  Ashantee  (1873-74)  is 
a  most  striking  one,  being  by  Sir  Joseph  Poynter,  P.R.A. 
Obverse,  head  of  the  queen,  with  diadem  and  veil ; 
the  reverse,  a  fine  representation  of  a  fight  with 
natives  in  the  bush.  The  ribbon  is  yellow,  with  black 
stripes.  One  clasp  only — Cooinassie — was  issued  to 
this  medal.  It  has  since  been  adopted  as  the  African 
General  Service  Medal,  and  has  had  twenty-one  clasps 
issued  to  it.  Medals  with  four  clasps  are  occasionally 
met  with.  The  medal  for  the  war  in  Afghanistan 
(1S77-80)  is  still  often  seen,  as  is  also  the  bronze 
■•tar  for  the  celebrated  march  of  Lord  Roberts  from 
Kabul  to  Kandahar,  which  is  worn  from  the  brilliant 
rainbow  -  pattern  ribbon,  as  in  the  early  Afghan 
1  ampaigns.      The  clasps  are  six  in  number,  and  the 


combinations  are  twenty-four.  The  blue  and  white 
striped  ribbon  of  the  Egyptian  wars  (1882-89)  >s  s" 
familiar  that  little  description  of  it  is  needed.  The 
clasps  issued  are  ten  in  number,  and  the  combinations 
seem  without  end.  I  know  of  eighty-six,  and  one 
often  comes  across  fresh  ones.  One  medal  was  issued 
with  seven  clasps  ;  four  with  six.  With  these  excep- 
tions, five  clasps  is  the  greatest  number  to  this  medal. 
The  Khedive  of  Egypt  also  gave  a  bronze  star  to  each 
recipient  of  the  Egyptian  war  medal.  The  number 
of  medals  issued  for  these  campaigns  was  very  great, 
being  only  exceeded  by  those  of  the  Boer  war. 

In  1885  a  medal  with  and  without  clasps  was  issued 
for  the  rebellion  in  North-West  Canada.  In  1900  a 
retrospective  medal  was  granted  for  the  Fenian  raids 
of  1S66  and  1870,  and  the  Red  River  expedition 
(1870).  A  change  from  the  usual  circular  silver  medal 
was  made  by  the  issue  for  the  Ashanti  expedition  of 
1895-96  of  a  four-pointed  bronze  star  with  the  St. 
Andrew's  cross  between  the  arms.  In  the  centre  is 
a  crown,  with  Ashanti  above  and  date  1896  below: 
on  the  reverse  is  From  the  Queen.  They  were  issued 
without  name,  and  as  they  can  be  bought  from  the 
makers  for  a  few  shillings,  they  are  of  little  value  to 
the  collector. 

The  New  Indian  General  Service  Medal  was  first 
issued  for  the  Chitral  campaign,  and  was  also  made 
use  of  for  the  subsequent  North-West  Frontier  wars  : 
the  total  number  of  clasps  issued  was  six.  The  Indian 
General  Service  medals  are  also  issued  in  bronze,  and 
with  clasps,  to  the  camp  followers. 

The  Chartered  Company  of  South  Africa  was  per- 
mitted to  issue  in  1896  a  handsome  silver  medal  for 
the  fighting  in  Matabeleland,  i8q6  :  Rhodesia,  1896  ; 
Mashonaland,  189J. 

The  British  troops  engaged  in  the  Soudan  in  1896 
also  received  an  English  medal  as  well  as  that  ot  the 
Khedive. 

The  medal  for  the  last  war  in  South  Africa  was  of 
the  usual  size,  the  clasps  being  neat  and  well  made, 
like  those  of  the  Military  General  Service  Medal  of 
1849.  The  number  of  clasps  officially  sanctioned  is 
twenty-six,  nine  being  the  greatest  number  granted 
to  any  one  medal ;  and  as  the  number  ot  soldiers 
in  this  war  was  greater  than  in  any  previous  war  in 
which  England  had  been  engaged,  this  medal  offers 
a  great  opportunity  to  the  collector  of  war  medals — 
it  is  said  that  about  180,000  of  them  were  struck  at 
the  Mint. 

The  last  war  medal  to  bear  the  image  of  Her  Most 
(Iracious  Majesty  Queen  Victoria  is  that  issued  after 
her  death  for  the  China  Expedition,  1900:  it  is 
similar  to  the  one  for  the  China  Wars.  1S42  and 
i860,  except  that  the  obverse  bears  the  head  of  Her 


2S 


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Y. 

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I 
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w 


29 


The   Connoisseur 


Majesty  as  on  the  South  African  medal.  1900 — three 
clasps  of  neat  design  were  issued  to  it. 

The  war  medals  issued  during  the  reign  of  his  late 

\]       sty  King  Edward  VII.  were  not  numerous,  the 

first  being  for  the  war  in  South  Africa,  1901-2  ;  two 

clasps  were  issued,  the  ribbon  being  the  same  as  the 

:n's  medal,  1900. 

The  medal  for  the  expedition  to  Ashanti  has  only 
one  clasp,  the  ribbon  being  green,  with  black  stripes. 
The  only  other  special  war  medal  was  that  for  Tibet : 
'  lasp  was  given,  the  ribbon  being  red  with  green 
border,  with  two  white  stripes.  The  other  medals  and 
clasps  given  during  this  reign  were  extensions  of  the 
various  colonial  and  Indian  General  Service  Medals. 

The  most  valued  reward  for  bravery,  both  by  the 
soldiers  and  sailors  themselves,  and  by  the  public. 
is  undoubtedly  the  Victoria  Cross.  It  is  of  simple 
bronze,  in  the  form  of  a  Maltese  cross.  On  the 
obverse  is  the  British  lion  and  crown,  and  on  a  scroll 
underneath  the  words,  "For  Valour."  A  laureated 
clasp,  \\  inches  wide,  acts  as  suspender,  and  a  "  V  " 
ci  nmects  it  with  the  cross.  The  reverse  is  plain.  The 
name  and  regiment  of  the  recipient  are  engraved  on 
the  lock  of  the  clasp,  and  the  date  of  the  act  of 
bravery  for  which  it  was  awarded  is  engraved  in  the 
circle.  The  ribbon  is  red  for  the  Army,  blue  for 
the  Navy.  It  carries  an  annuity  of  ^?io,  and  at  the 
discretion  of  the  Secretary  of  State  for  War  this  may 
be  increased  to  ,£50  a  year.  Up  to  date  about  500 
of  the  Victoria  Crosses  have  been  awarded,  50  only 
being  to  the  Navy.  This  decoration  is  very  highly 
prized  by  the  collector,  and  it  is  only  on  the  death 
of  the  recipient  that  they  are  to  be  obtained,  and 
even  then  with  difficulty,  as  they  are  much  valued  by 
the  families  of  the  brave  men  who  earned  them.  It 
was  first  instituted  in  1856. 

The  medal  for  distinguished  conduct  in  the  field 
was  instituted  in  1854.  At  first  a  gratuity  was  given 
with  the  medal,  but  was  withdrawn  in  1862.  The 
ribbon  is  blue,  with  a  crimson  stripe  down  the  centre. 
The  name,  rank,  and  regiment  are  round  the  edge  : 
and  since  1882  the  date  of  action  for  which  it  was 
awarded  has  been  added. 

A  medal  to  the  Navy  for  conspicuous  gallantry 
was  issued  in  1855.  However,  eight  only  were  then 
issued.  It  also  carried  a  gratuity.  The  ribbon  is 
blue,  with  a  white  stripe  down  the  centre.  It  was 
revivi  d  in  1074,  and  is  now  granted  for  any  war  in 
which  the  Navy  is  engaged.  This  medal  may  be 
worn  with  the  Victoria  Cross.  I  have  a  group  in 
my  collection  consisting  of  the  Victoria  Cross,  Con- 
spicuous Gallantry  (1st  issue),  Crimean  Medal  with 
one  clasp,  Sebastopol,  China  Medal  (1842),  Legion 
of  Honour,  and  the  Turkish  Medal  for  the  Crimea. 


The  collecting  of  regimental  medals  is  a  very  inter- 
esting branch.  As  these  medals  were  discontinued 
after  the  issue  of  the  long  service  and  good  conduct 
medal  in  1830,  they  have  now  become  rare  and 
difficult  to  obtain.  Another  very  interesting  branch 
is  that  of  early  volunteer  medal-  given  to  the 
numerous  volunteer  corps  raised  from  1794  to  1804. 
They  vary  in  shape  and  size.  Some  are  .struck,  many 
engraved  and  bearing  the  hall-mark  of  the  period. 
Mr.  R.  Day,  of  Cork,  who  is  an  authority  on  the 
subject,  has  made  a  special  study  of  these  medals, 
and  had  a  fine  collection  of  them. 

The  very  fine  series  of  medals  in  gold  and  silver 
granted  by  the  H.E.I.C.  also  claims  the  attention  of 
the  medal  collector,  as  does  that  of  the  handsome 
medals  presented  to  Indian  chiefs  from  the  time  of 
George  II.  to  Queen  Victoria. 

Occasionally  collections  are  disposed  of,  and  oppor- 
tunities occur  of  completing  a  series,  or  of  obtaining 
a  rare  example  :  but  in  spite  of  sales  being  held 
monthly  by  Glendining's  and  Debenham's,  and  occa- 
sionally during  the  season  by  Sotheby's  or  Christie'-, 
the  older  medals  are  becoming  more  difficult  to  obtain. 
For  rare  ones  and  fine  groups  very  high  prices  have 
to  be  paid. 

The  great  advantage  that  war-medal  collecting  has 
over  any  other  pursuit  is  that,  however  great  the  issue 
of  a  medal  may  be,  it  is  strictly  limited,  and  is  never 
repeated.  Each  medal  bears  the  name,  rank,  and 
regiment  of  the  soldier  or  sailor  who  earned  it,  and 
a  record  is  kept  at  the  War  Office  and  Admiralty 
of  every  medal  and  clasp  issued. 

This  hobby  is  also  free  from  fraud,  as  the  only  way 
in  which  a  collector  can  be  deceived  is  by  the  taking 
from  or  adding  to  the  clasps  of  a  medal.  In  the  case 
of  rare  or  valuable  medals  enquiries  can  be  made, 
and  the  medal  and  clasps  can  be  verified  and  found 
if  correct  or  not.  The  medal  itself  cannot  be  imitated, 
and  bogus  clasps  are  easily  detected.  Some  tim< 
the  Indian  Mint  issued,  on  application,  re-strikes  of 
some  of  the  early  H.E.I.C.'s  medals,  but  that  has 
now  been  stopped. 

The  collection  of  General  Eaton  is  considered  the 
most  complete,  and  contains  a  great  number  of  naval 
and  military  General  Service  medals.  Colonel  Mur- 
ray's fine  collection  contains  many  obtained  with  rare- 
judgment  bv  Captain  Tancred,  who  is  the  author  of 
the  standard  work  on  war  medals  and  decorations. 
Captain  Whittaker's  collection  is  strong  in  gold  medals 
and  crosses,  that  of  Dr.  Payne  in  officers'  medals  and 
groups  ;  my  own  in  Victoria  Crosses,  rare  groups, 
and  H.E.I.C.'s  medals.  Major  Tombs,  Mr.  Gaskell, 
and  others  have  also  representative  collections,  and 
the  number  of  collections  is  constantly  on  the  inci  easi 


[The  Editor  invites  the  assistance  of  readers  of  THE  CONNOISSEUR  who  may  be  able  to  impart  the  information  required  by  Correspondents. 


Last  month's  instalment  of  "Notes  and  Queries"  introduced  a  remarkable  case  of  identification  to  our  readers. 
The  two  paintings  reproduced  side  by  sale  on  page  211,  the  original  portrait  of  Jules  II.  Forget,  1779,  and  the  copy  made 
for  another  branch  of  the  family,  must  havt  attracted  no  little  attention  from  art-lovers.  Apart  from  the  general 
interest,  moreover,  it  tonus  an  excellent  proof  of  the  value  of  "  Notes  and  Queries  "  as  a  medium  of  identification. 
for  The  Connoisseur  reaches  collectors  all  over  the  world,  who  are  thus  put  into  communication  with  each  other, 
often  with  astonishing  effect.  Owners  of  doubtful  pictures  have  resorted  to  "  Notes  and  Querit  s  "  as  a  last  r,  source  of 
identification,  and  if  the  painting  has  any  appreciable  interest  attaching  to  it.  the  desired  information  is  almost 
bound  to  be  elicited  sooner  or  later.  Many  connoisseurs  of  high  rani;,  and  in  the  possession  of  the  finest  collections, 
write  to  us  giving  their  assistance,  which,  of  course,  can  hardly  be  overestimated.  Readers  will  recoil,  i  t.  foi  ins, 
the  case  of  a  miniature  in  our  August  issue  for  1914,  winch  II,  r  Majesty  the  Illicit  identified  as  being  a  pert  rait  of  the 
Old  Chevalier.  We  are  glad  to  say,  moreover,  that  those  who  have  exhibited  their  pictures  in  thesi  columns  express 
their  satisfaction  at  the  method  of  reproduction.  A  recent  letter  from  a  client  in  America  says,  "  /  wish  to  tell  you 
how  much  I  liked  the  way  you  handle,/  my  portrait :  the  cut  was  splendid.     I  thank  you." 

There  is  one  point,  perhaps,  -which  ice  should  like  to  draw  attention  to.     "  Notes  and  Queries  "  is  not  necessarily 
restricted  to  the  reproduction  of  unidentified  paintings  or  engravings.      We  are  prepared  to   include  specimens  of  rare 
or  unique  china,  etc..  etc..  at  the  usual  rate  of  10s.  6d.  per  photograph,  provided,  of  course,  that  the  objects  have  m,  I 
than  /list  the  ordinary  interest  connected  with  them.    The  decision  on  this  point  rests, of  course,  with  THE  CoKKOlSSEI  R 


I' MM  N  I  II  II  I  i 

Portrait 

(No.  174)- 
I  Iear  Sir, — 
I  am  a  regular 
subscriber  to 
your  magazine, 
and  want  to 
ask  a  favour  of 
y  o  u  .  la  m 
encl  o  s  i  ng  a 
photograph  I 
have  had  taken 
of  an  oil-paint- 
i  n  g  i  n  m  v 
possession, 
and  am  very 
anxious  to 
know  whether 
it  is  authenl  ii  . 
and,  if  possible, 
theartist.  The 
canvas  is 
approximat  ely 
58  in.  by  .(2 
in.  The  1  olour- 
ings  are  very 
rich  and  mel- 
lowed :  canvas 
and  si  1  etchei 
are  undoubted- 
ly old.  I  shall 
be  exi  remely 


(■74) 


1   \IHKN  1  IFIED     PORTRA1  I 


indebted  to  you 
for  any  enlight- 
enment.    As 
suring   you  of 
my  sincere  ap- 
preciation, 
I  am, 
Very  truly 
yours, 
I'.  HOPKINSON- 
K\  ANS 

(  Philadelphia, 
U.S.  A.). 

L'mI'KN  1  ii  Hi' 
P  MINTING 
(NO.   ion  1. 

April,  mi  \. 
1  >EAR  Sir. 
I    1  a  k  e   this 
5t   oppor- 
tunity "I    sub- 
mitting  partic- 
ulars   which 
may   he  of   in- 
to  your 
corn 

upon  painting 
No.  10(1 
Tribute    1 
—  illustrated 
in     N  o 

VND   Ql    11:11- 


The   Connoisseur 


of  April.  11)14.  I 
have  in  my  posses- 
sion an  oil-painting 
on  panel,  13A  in.  by 
io{  in.,  the  compo- 
sition of  which  is 
almost  identical  with 
the  illustration  re- 
ferred to,  except  that 
the  arrangement  is 
reverse -handed  ;  the 
figure  of  Christ  is  in 
a  different  aspect  : 
the  expressions  and 
costumes  vary  slight- 
ly. The  portraiture, 
however,  appears  to 
correspond  through- 
out. My  picture  is 
perfectly  finished  and 
of  rich,  dark  tone. 
It  is  attributed  to 
jordaens. 

I  am, 
Yours  faithfully, 

J.  H.  Denty. 

Unidentified 
Painting 

(No.  175). 
Dear  Sir, — I  have 
sent  you  a  photo  of 
a  most  interesting 
old  oil-painting  in 
my  possession,  in 
the  hope  that  you 
will  be  able  to  repro- 
duce it  under  your 
Notes  and  Queries 
section.  I  should  be 
extremely  obliged  if 
vou  or  one  of  your 
numerous  readers 
eould  inform  me  who 
the  artist  is  and  the 
name  of  the  lady  who 
forms  the  subject  of 
the  painting.  It 
measures  1  6  i  n.  by 
ni  in.,  and  is  on 
panel.  I  am  inclined 
to  think  it  is  by  Hol- 
bein, or  possibly  pre- 
Holbein,as  the  period 


(175)        unidentified   painting 


(176)        unidentified    portrait 

32 


is  not  later  than  early 
sixteenth  century.  I 
have  the  original 
carved  and  gilt  frame, 
which  is  not  shown. 
Trusting  that  you  will 
be  able  to  assist  me 
in  this  matter, 
Believe  me, 

Yours  faithfully, 
Cecil  B.  Morgan. 


Unidentified 
Portrait 
(No.  176). 
Dear  Sir,  —  I 
should  be  pleased 
to  hear  from  any  of 
vour  readers  as  to 
the  identity  and 
authorship  of  the 
portrait,  a  photograph 
of  which  I  send  here- 
with. It  has  been 
suggested  that  the 
sitter  was  the  cele- 
brated Flora  Mai - 
donald. 

Yours  faithfully, 
J.  A.  MacPhkrson. 


Unidentified 
Portrait 

(No.  170), 
March,  1915. 
Dear  Sir, — As  to 
unidentified  portrait 
No.  170,  I  think  the 
engraving  by  J. 
Simon,  after  Kneller, 
shows  that  it  cannot 
be  Bishop  Atterbury. 
The  faces  are  wholly 
unlike.  The  bands 
are  those  of  a  French 
ecclesiastic  ;  as  to  the 
wig,  I  am  not  com- 
petent to  give  an 
opinion. 

Yours  faithfully, 
(Rev.)  1..  J.  T. 
1  (arwall. 


Notes   and   On  cries 


Cleaning  Plaster  Casts. 
Dear  Sir, — I  have  three  trays  of  plaster  casts,  re- 
productions of  the  designs  of  statuary  by  Thorwaldsen 


find  that  soft  portions  of  the  plaster  become  detached 
after  a  prolonged  working  on  any  one  part.  The 
casts  in  question  are  for  the  most  part  round  or  oval 


i77) 


UNIDEN  III  IED      PAINTING 


and  Canova,  which,  through  age  and  inattention,  are 
now  covered  with  a  thick  coating  of  dirt,  evidently 
dust  that  has  become  embedded  in  the  surface  plaster, 
and  settled  down  into  the  crevices  of  the  designs. 
Could  any  of  your  readers  provide  me  with  a  remedy 
for  removing  the  dirt  without  materially  damaging  the 
casts?     I  have  tried  a  small  camel's-hair  brush,  but 


in  shape,  their  diameters  ranging  from  half  an  ini  h  to 
three  inches.  I  should  be  most  grateful  of  anj  help 
or  advice  in  the  above  matter. 

Yours  faithfully,    B.  Ledbrooki 

Unidentified  Painting  (No.  177). 
Dear  Sirs,  —  I    am    enclosing    you    a    photograpl 


(178)        unidentified    painting 
33 


T/ic    C  'onuoisseur 


ol  a  large  painting  I 
have  in  my  posses- 
sion, which  I  believe 
to  be  by  Jean  Honore 
Fragonard.  I  should 
be  glad  i  I  you  would 
insert  this  in  your 
next  edition  o  f  T  u  i 
Connoissei  R,  to  see 
if  any  of  your  readers 
can  authenticate  the 
picture. 

Yours  faithfully 
(for  A.  G.  Hariiy 
Jones),   E.  J. 

Unidentified 
Paintings  (Nos.  178, 

I  79  AND   180). 

I  >ear  Sir,  —  I  en- 
close herewith  three 
photographs  of  paint- 
ings, whi  ch  are  the 
property  of  relatives 
of  mine,  i  n  the  hope 
that  some  of  your  readers  may  be  able  to  identify 
their    authorship.        With    referaice    to    the    church 


C79) 


UNIDENTIFIED     TAIN  flNG 


much  obliged  if  you  would 
this  matter  to  your  readers. - 


interior,  this  picture 
has  been  attributed  to 
E.  de  VVitte,  although 
others  claim  that  it  is 
by  de  Blieck.  The 
painting  is  on  three 
wood  panels,  and 
measures  42  in.  by 
28  in.,  while  the  sub- 
ject bears  a  strong  re- 
semblance to  a  much 
smaller  painting  by 
de  Blieck,  at  present 
on  view  at  the  Glas- 
gow Corporation  Art 
Galleries  at  Kelvin- 
grove,  the  title  of 
w  h  i  c  h  is  Chu  rch 
Interior  (Haarlem?). 
The  two  portraits  are 
French  paintings  of 
e  i  g  h  t  e e  n  t  h-c entu  ry 
period  (ovals),  and 
each  measures  23  in. 
by  19  in.  I  should  be 
be  so  good  as  to  submit 
-Yours  sincerely,  R.  S.  S. 


(i  So) 


UNIDENTIFIED     PAINTING 


34 


V 


r^ 


"*■**, 


|  gpp> 


THE   COl  NTESS    OF   GRAMMONT 

BY    SIR    PETER    I.KLY 

/h  //it-  collection  of  Karl  Spencer,  K.G.,  at  A!t;^"j 


.   V^SWK 


IPotteryand 
Poirelai 


Chinese    Pottery   and    Porcelain 


The  issue  of  works  on 
ceramic  art  has  been  so  volu- 
minous in  recent  years  that 
the  collector,  both  in  the  in- 
terests of  his  pocket  and  his 
overcrowded  book  > 
has  been  compelled  to  closely 
scrutinize  the  pretensions  of 
each  new-comer  before  ad- 
mitting it  to  his  reference 
library.  In  the  case  of  a  work 
by  Mr.  R.  L.  Hobson,  this 
scrutiny  is  likely  to  be  dis- 
pensed with.  Mr.  Hobson's 
knowledge  of  ceramic  wares 
is  so  exhaustive  that  no  vol- 
ume on  the  subject  by  him 
can  fail  to  possess  a  permanent 
value.  As  regards  English 
wares,  there  are  several  writers 
w h o  rank  with  him  in  au- 
thority, but  in  the  domain  of 
Chinese  ceramics  he  and  Dr. 
S.  W.  Bushell  share  an  un- 
questioned supremacy  among 
English  writer-.  M  r. 
Hobson's  latest  work —  Chinese 
Pottery  and  Porcelain :  an 
account  of  the  potto's  art  in 
( Vtina  from  primitive  linns  to 
the  present  day—\%  perhaps  his 
most  valuable  contribution  01 
the  subject.  He  has  brought 
wi  thin  i  he  co  m  pas>  of  two 

1 1  \ olumes  ad' 
lory  of  over  twenty  centui  i     ol 
Chinese  ceramic   pi  i  idu  tion.     It 
is   not    pri  ti     iled  that  i 
form   of  pottery  and    porcelain 
is   exhaustively  ed  -the 

maginati on,    indeed.    >vo 

i  i  at  the  i  onti  mp lai ii in 
of  such  a  gigantic  task 

i  all)  every  type  that  has 
appeared  in  the  European 
markel  n  treated  upon. 


I  [I  ,i   1:1     I  IF     -  II'  It)   U 

ONGEVITV  MAIN    HI 

Willi      "   I-  \\1  II  II        \  I   I;  I  I     "      E.N  V.I  I 

k'ang    MM    PERU  iD  (l 
:  I  .    \~,\    IN.  SALT] 

(VICTORI  \    \ND     U  BER  I     MUSEUM) 


37 


as  well  as  many  types  which  arc 
known  to  Europeans  only  by 
repute.  Mr.  Hobson  may  well 
be  congratulated  on  the  pro- 
duction of  such  an  exhaustive 
work,  every  page  of  which  bears 
evidence  of  original  resi 
and  investigation. 

The  history  of  earl\   Cli 
ceramic  art  is  derived  from  two 
sources — the  ancient   Chinese 
literature  on  the  subject,    much 
of  which  has  been  placed  at  the 
disposal  of  English   re  tdi 
through  the  translat  > 
Bushell:    and   the    evidence 
afforded   by  various   pieces  of 
ancient  ware  which  are  still   in 
eno         Mr.    II  obson   has 
freely  availed  himself  of  Dr. 
Bushel l's  translations,  but, 
while  substantially 
them,  he   has  amended  them  in 

ii  ii ius  iiei.nl>.     In  general  he 
is  di  sincl  i iied   to  acce  pt  the 

statements  oi  these  Ch 
authorities,  unless  they  are 
'  01  roborated  by  independent 
evidence,  and  in  this  way  he 
omewhat  modified  the 
generally  accepted  idea  of  the 
extreme  antiquity  of  the  po 
craft    in    China.      Ai  i  Ording    to 

■    authorities,  thi 
of   potl  ci  to    the 

mythical  Sh£n-nung,  whom 
rerrien  di 

1  might  be  identified  with 
Sargon,  the  ruler  of  Chaldea, 
about  3800  B.< .  The  semi- 
legendary  eini  an   Ti 


*  Chim  st  Potti 
by  R.  L.  Ho  B.A  issell  & 

iny,  Ltd.     2  vols.         .    , 


The   Connoisseur 


97B.1 

to  have  appointed  a  su- 
perintendent of  pottery," 
and  it  is  a  common- 
place in  the  old  Chinese 

literature  that   the  em- 
peror Vii  Ti  Shun   2317  - 
220S   B.C.     highly  es 
teemed  pottery. 

All  these  statement- 
lead  to  the  inference  that 
the  potters  art  was  flour- 
ishing and  had  reached 
a  substantial  degree  ot 
ancement  anterior 
to  the  period  of  the 
Chou  dynasty  1  [69-256 
B.(  .  .  Mr.  Hobson  re- 
gards this  as  unproven. 
and  points  out  that 
even  the  surviving  wares 
belonging  to  the  last 
part  of  the  Chou  period 
possess  only  an  anti- 
quarian interest,  and 
evidences  of  anything 
bevond  primitive  art  and 
craftsmanship  have  so  far  not  been  found  earlier  than  in 
the  Han  period    206  B.C.  to  220  A.D.  . 

The  Han  dynasty  united  the  states  of  China  into  a 
great  and  prosperous  empire,  having  commercial  relations 
\\  i  t  h  adjoining 
states,  through 
which  a  consider- 
able trade  was  car- 
ried on  with  the 
outlying  provinces 
of  Rome.  This 
foreign  intercourse 
appears  to  have 
given  the  Chinese 
potter  much  of  the 
knowledge  which 
was  to  be  turned 
to  such  good  ac- 
count during  later 
generations.  One 
thing  that  may  have 
been  derived  from 
it  was  an  acquaint- 
ance with  the  art 
of  glazing,  at  that 
time  practised 
throughout  West- 
ern Asia.  None  of 
the  work  that  can 
be  positively  identi- 
fied as  belonging 
to  the  Chou  period 
i  s    glazed,    though 


I   AM.    POTTERY    PILGRIM    BOTTLE  HEIGHT,    7A    IN. 

(KOECHLIN    COLLECTION) 


SUNG    DYNASTY    VASE    IN    THE    FORM    OF    A    LOTUS    FLOWER  HARK 

GREY    STONEWARE,    BURNT    REDDISH     BROWN,     MILKY    t 
CLOSELY    CRACKLED  HEIGHT,    7    IN. 


some  of  it  appears  to 
have  been  coloured  with 
unfiled  pigments.  The 
majority  of  the  Han 
pieces,  on  the  contrary, 
are  glazed,  "the  typi- 
cal Han  glaze  being  a 
translucent  greenish 
yellow,  which,  over  a 
red  body,  produces  a 
colour  varying  from  leaf 
green  to  olive  brown.' 
Though  hardly  a p - 
proaching  the  refine- 
ment attained  in  later 
ceramic  work,  or  even 
that  of  contemporary 
craftsmen  in  jade  and 
metal,  the  productions 
of  the  Han  potter  are 
marked  by  high  artistic 
interest.  They  included 
reproductions  of  com- 
mon objects  of  life,  as 
well  as  forms  and  orna- 
mentation derived  from 
metal-work. 

Owing  to  the  large  number  of  Han  tombs  containing 
pottery  which  have  come  to  light  through  the  excava- 
tions for  railways  and  other  causes,  we  are  far  better 
informed  about  Han  wares  than  of  those  of  many  of  the 

later  periods.  With 
the  end  of  the  dy- 
nasty China  again 
became  split  up 
into  warring  states. 
It  was  not  until  the 
advent  of  the  T'ang 
dynasty  'nS-906 
\.  D.  that  the  em- 
pire again  became 
united.  The  art- 
suffered  during  the 
period  of  confusion : 
nevertheless,  from 
the  references  in 
Chinese  literature 
it  may  be  inferred 
"that  new  kinds 
of  pottery  ap- 
peared from  time 
to  time,  and  it  is 
certain  that  the 
evolution  which 
culminated  in  por- 
celain made  sen- 
sible advances." 
1'nder  the  T'ang 
dynasty  the  em- 
pire  reached  the 


(FREER    COLLECTION) 


38 


-tri  — 

•  -    / 

•  -  : 


<  <  > 

...  3  < 


z 

■'   :     .   - 
,.  -  '  " 


39 


The   (  onnoisseur 


zenith  of  its  power, 
C  hinese  .1  r  m  1 
penetrating  into 
Central  India,  Chi- 
nese i unks  into  the 
Persian  Gulf,  and 
the  northern  bound- 
aries of  t  lie  empire 
extended  into  Turki- 
stan.  As  during  the 
Han  dynasty,  inter- 
course with  foreign 
states  was  renewed, 
and  "a  host  of  for- 
eign influences  must 
have  penetrated  into 
the  middle  kingdom, 
including  those  of 
the  Indian,  Persian, 
and  Byzantine  arts." 
T  'a  n  g  pieces  a  re 
only  beginning  to 
find  their  way  to 
Europe,  and  afford 
surprising  evidences 
of  the  maturity  which 
ceramic  art  attained 
during  the  period  of 
the  dynasty.  The 
majority  of  the  speci- 
mens which  have 
come  to  light  are 
mortuary  pieces,  and 
until  more  tombs  are 
exhumed  and  further 
pieces  surrendered 
by  Chinese  c  0 1  - 
lectors,  it  will  be 
impossible  to  form 
a  final  e  stimate 
of  T'ang  pottery. 
Among  its  especial 
characteristics  are 
the  large  proportion 
of  figure  pieces  it 
includes.  Some  of 
these  are  clearly 
inspired   by  Graeco- 

Roman  influence,  and  rival  their  exemplars  in  force  and 
spirit.  Horses  are  taken  for  subjects  with  great  fre- 
quency, and  are  modelled  with  great  boldness  and 
character.  Perhaps  the  sculpturesque  power  of  the 
T'ang  craftsmen  is  best  shown,  however,  in  the  large 
Buddhist  figures,  of  which  a  few  rare  examples  have 
been  brought  to  Europe.  These,  while  embodying 
the  Buddhist  idea  of  abstraction  and  aloofness,  are 
realised  with  wonderful  literalness,  and  offer  a  com- 
bination of  monumental  repose  with  the  expression  of 
mental  energy  that  is  in  its  way  quite  unrivalled.  These 
figures  are  even    more    remarkable  as    pottery  than  as 


MODBI    OF  A  "  FOWLING    I  ow  KK 
GREEN    GLAZE  HEIGHT, 


sculpture.  Speaking 
of  a  splendid  ex- 
ample in  the  British 
Museum,  50  inches 
high,  Mr.  H o b s o n 
states  that  "to  lire- 
such  a  mass  of  ma- 
terial without  subsi- 
dence or  cracking 
would  tax  the  capa- 
bilities of  the  best 
modern  pottery, 
while  the  skill  dis 
played  in  the  model- 
ling is  probably 
unequalled  in  any 
known  example  of 
ceramic  sculpture." 
The  glazes  used  by 
the  T'ang  potters 
were  numerous,  and 
t  he  shapes  of  their 
pieces  and  the  styles 
of  ornamentation 
used  remarkable  for 
their  variety.  Some 
recently  discovered 
pieces  would  even 
seem  to  prove  that 
painting  with  a  brush 
was  practised  1  >  y 
them. 

The  five  brief  dy- 
nasties which  fill  the 
sixty -four  years'  in- 
terval between  the 
T'ang  period  and 
the  Sung  period 
1960-1279  A.  n.  are 
known  by  few  dis- 
tinctive wares  of  im- 
portance. The  last- 
named  period  was 
the  golden  age  of 
Chinese  arts,  and 
the  Sung  wares  ha\  e 
always  been  re- 
garded by  Chinese 
connoisseurs  as  reaching  the  high-water-mark  of  ceramic 
excellence.  So  highly  are  they  prized  that  comparatively 
few  specimens  of  them  are  permitted  to  leave  the 
country,  and  Europeans,  for  the  present,  have  largely 
to  be  content  with  a  second-hand  knowledge  of  them. 
"The  Sung  wares  are  true  children  of  the  potter's  craft, 
made  as  they  are  by  the  simplest  processes,  and  in  the 
main  decorated  only  by  genuine  potter  methods."  Then- 
most  important  feature  "lies  in  their  glaze,  which  holds 
la  quti/ite  maitresse  de  la  ceramique,"  as  an  enthusiastic 
French  writer  has  expressed  it.  Its  richness,  thickness, 
lustre,  translucency,  and  its  colour  and  crackle  are  the 


HAN  POTTERY,  Willi    1  KI I  il.se  F.N  I 
|0   IN.  (FREER    COLLECTION) 


40 


Chinese    Pottery    and   Porcelain 


main  criteria 
of  the  wares 
in  the  eyes  of 
Chinese  con- 
noisseurs. 
Space  will  not 
permit  one  to 
follow  Mr. 
Hobson  in  his 
interesting  ac- 
count of  the 
different  varie- 
t  i  e  s  of  the 
wares,  some  of 
the  most  es- 
teemed  of 
which  are  still 
unrepresented 
in  European 
collect  ions. 
The  pieces  of 
this  period 
formed  a  great 
source  of  in- 
spirat  ion  to 
later  Chinese 
makers,  and 
were  frequent- 
ly imitated. 

Ontheques- 
tion  o  f  t  h  e 
exact  period  in 

which  Chinese  porcelain  originated,  Mr.  Hobson  is  in 
direct  conflict  with  Dr.  Bushell's  latest  pronouncements, 
which  apparently  lean  to  the  theory  that  porcelain  was 
first  made  so  far  back  as  the  Han  dynasty.  Mr.  Hob- 
son complains  that  Dr.  Bushell  bases  his  idea  on  the 
mistranslation  of  a  Chinese  word,  which  he  renders  as 
"porcelain"  instead  of  "pottery."  A  knowledge  of 
Chinese  would  be  essential  to  do  justice  to  the  merits 
of  the  controversy.  Mr.  Hobson,  however,  makes  out 
a  strong  case  for  his  contention,  and  such  extraneous 
evidence  as  exists,  chiefly  of  a  negative  character,  leans 
decidedly  on  his  side.  No  specimens  of  porcelain  be- 
longing to  the  Han  or  even  the  T'ang  period  have  yet 
been  discovered,  and  the  inference  appears  to  be  that 
its  manufacture  was  not  accomplished  until  the  T'ang 
period.  Mr.  William  Burton,  in  the  last  edition  of  the 
Encyclopedia Britannica,  coincides  with  this  view,  whii  h, 
one  would  imagine,  must  be  generally  accepted  until 
direct  evidence  is  produced  to  the  contrary,  in  the  form 
of  pieces  belonging  to  the  earlier  dynastie 

The  Yuan  dynasty  ( 1 280- 1 367    V.D.),   founded  by  the 

Tartars  under  Kublai    Khan,  gave   little  encourag ll 

to  ceramic  art,  and  it  was  not  until  the  time  of  the  Ming 
dynasty    1  368   [64  1 1  that  it  made  any  substantial  ad\  am  e. 

The  works  of  this  period,  ami   even   1 those  of  the 

1  li  in-  dynasty  1044-1910),  are  naturally  the  best  known 
to  Europeans,  and  arc   besl    repre  ented   in  publii    and 


T'ANG  POTTERY  DIsII   Willi    MIRROR   pattern   incised  ami  coloured   blue, 

GREEN,    ETC.;     INNER     BORDER     OF    "  JU-I "    CLOUD    SCROLLS    "N      \     MOTTLED 

YELLOW   GROUND,    OUTER    I'.ORDER   OF    MOTTLED   GREEN:     PALE    GREEN    GI  VZE 

UNDERNEATH    AND    IIIRF.H    TUSK-SHAPED    FEET  DIAMETER,   I_S    IN. 

(EUMORFOPOULOS    COI  I  I S) 


private  collec- 
tions. To  these 
periods  prac- 
tically   belong 
all   the  finer 
kinds  of  Chi- 
nese porcelain, 
the  earlier 
pieces  which 
come   within 
that  category 
showing    little 
differentiation 
from    stone- 
ware.      The 
wares  belong- 
ing to  these 
periods  are  so 
varied  and  nu- 
merous that  it 
is  i  111  possible 
to  attempt  to 
fo  1  1  ow    M  r. 
Hobson  in  his 
elaborate  d  e  - 
scription    and 
classification 
of  them.      His 
book   i  s  deci- 
dedly the  best 
and  most  ex- 
haustive  epi- 
tome of  Chinese  ceramic  art  that  has  been  placed  before 
the  English  reader.    Perhaps  "epitome"  is  the  wrong  word 
to  use  in  this  conjunction  ;  for  though  the  work  cannot  con- 
tain such  minute  particulars  as  is  given  in  books  dealing 
only  with  individual  phases  of  the  subject,  the  information 

given  regarding  the  different  kinds  of  potter)  and  1 e 

lain,  the  factories  at  which  they  were  produced,  and  the 
characteristics  and  marks  by  which  they  are  to  be  dis- 
tinguished, is  at  once  so  full  and  so  concisely  put  that 
even  the  highly  specialised  collector  will  find  11  of  great 
value  in  studying  the  particular  period  Or  style  which  he 
affects.  To  the  general  student  no  book  can  be  n  ■ 
mended  more  highly.  It  is  written  with  a  clearness  and 
precision  that  leaves  little  scope  for  misunderstanding. 
The  plates  arc  numerous,  and  have  been  can  ful 
to  give  the  best  idea  of  the  different  types  of  pottery  and 

pon  elain.     A  highly  valuable  featui iieo 

illustrated   is  elaborately  described  and   its  salient  cha- 
racteristics  pointed   out.      In  this  way  the   plates  will   be 

.ii  great  assist; :  to  the  tyro  in  identifying  the  style  and 

period  of  any  piece  which  may  be  offered  to  him.      I 

plate  ;  11 mi «  I an    gem  rail)  ol  exi  elleni  qua 

and  those  in  colour,  if  not  always  reprodui  ing  the  exai  1 
tints  oi  the  pieci  ;  from  which  they  arc  taken     an  almost 

mpo     ble  perl 1  ilour  proo 

always  sufficiently  explicit  as  not  to  allow  an)  dou 
in  the  identity  oi  the  oi  iginals. 


4i 


shm*7t»o 


A   Carved 
Ivory  Horn 


The  carved  horn  illustrated,  made  from  an 
elephant's  tusk  in  my  collection,  is  a  fine  pie< :e  ol 
sixteenth-century  work,  and  portrays 
an  interesting  story.  The  legend  runs 
somewhat  as  follows  :  "  St.  Hubert,  a 
worldly  man,  was  out  hunting,  and  spied  a  white  stag, 
which  baffled  all  pursuit 
for  many  days.  He  pursued 
and  became  separated 
from  his  fellow-huntsmen. 


-• 


/. 


M 


CARVKfl    IVORY     HORN 


Towards  evening  he  came 
up  with  the   stag,  and  was 
about  to  strike  when  he  per- 
ceived a  crucifix  suspended 
between  the  antlers:  at  the 
same   time  a    mysterious 
voice    addressed    him. 
Hubert  fell  on    his  knees, 
became  a  convert  to  the 
faith,  and  vowed  to  erect  a 
monastery  on    the  spot." 
( )n   the  upper  part  of  the 
horn   may   be   seen   the 
monastery,  on  a  pine-clad 
hill.   Below  is  the  stag  with 
the  crucifix,  and,  lower  still, 
Hubert,   his   horse,   and 
hounds.     Near  the  dog's- 
head   mouth-piece  is  an 
elaborate  monogram,  on  a 
shield,  which  displays  the 
letters  T.L.C.   intertwined, 
and   at   the  lower  end  of 
the  horn   the  monogram 
A.E. D.     The  carving   is 
so  beautiful,  and  the  story 
illustrates   so   closely  the 
well-known  engraving    by 
Albert    Diirer,   that,  were 
not  the  letter   E   included 


in  the  monogram,  the  work  might  well  be  supposed 
to  be  that  of  the  artist  himself,  who  at  times  turned 
his  attention  to  carving.  The  horn  is  very  heavy, 
and  measures  26  inches  from  end  to  end. — W.  B. 
Redfern. 

There  are  many  people  who  have   an   idea   that 
French  furniture  is 


The  "  Straight 
Line  "  in  French 
Furniture 

all  curves  and  orna- 
ment or  fragile 
and  uncomfortable. 
Comfort,  it  must  be 
admitted,  was  not  a 
sinequanoti  with  the 
lurniture-makers  of 
old  times  in  France, 
but  curves  were 
characteristic  of  one 
period  of  French  art 
only — the  Rocoi  ". 
The  misleading 
habit  of  applying  a 
sovereign's  name  to 
certain  marked  ten- 
dencies that  show 
the  departure  from 
old  canons  of  design 
is  purely  one  of 
convenience.  Louis 
Seize  had  no  more 
to  do  with  the  es- 
tablishment of  a 
new  vogue  of  deco- 
ration than  did  his 
beautiful  queen  ; 
both  accepted  the 


<  AKVED    IVORY     MORN 


42 


Xofi-s 


ideas  of  the 
ni  uvenient 
that  had  been 
ring  for 
years,  and 
simplycrystal- 
lised  during 
their  reign.  So 
it  has  ever 
.  and  not 
in  France 
alone.  To 
work  out  the 
chain  of  evi- 
dence back- 
wards, com- 
mencing with 
:  hat  period 
w  h  i  c  h  w  a  s 
falsely  a  s- 
sumed  to 
have  taken  a 
deli  berate 
plunge  from 
all  the  rules 
that  governed 
furniture  de- 
sign in  pre- 
vious gene- 
rations —  the 
Empire  and  the  Directoire — we  find  that  in  the  latter 
of  LouisXVI.'s  reign  there  were  cabinet-makers 


EARLY     LOUIS     XVI.    CABINET,     WITH     PAINTED     PANELS 


who  designed 
furniture  hav- 
ing  a    v  e  r  y 
pronounced 
feeling  for 
that  formality 
which   is 
of  the  cha- 
racteristii  - 
classic  art. 
Lavas  s  cur. 
who  assisted 
Moligny  so 
much  in  the 
copying   of 
Buhl   designs 
in   the    1  a  t e 
e  i  g  h t ee  n  t h 
century,  was 
an  ibeniste 
strongly  d  i  s 
p  o  s  e  d    to 
severity    o  l 
forms.      Even 
Carlin.  the  re- 
nowned  em- 
ployer of  lac 
panels  in  his 
cabinets,  was 
an  advocate 


straight  line,"  which  one  prejudiced  writer  refers 
to  scathingly,  in  summing  up  the  taste  of  the  moment  : 


BLACK      I  AC     CA1 


\K1.IN 

43 


Rion 


The   Connoisseur 


"  Choice  finish 
a  n  d    1  a  v  i  s  li 
expenditure 
strove  i  n  vain 
to    confer 
wealth    of  as- 
pect on  pover- 
ty-stricken 
invention,   and 
thus  began  the 
triumph  of  the 
straight   line." 
The  said  tri- 
umph   h  a  d  a 
long  record  of 
appreciat i  on 
behind  it  be- 
fore i  t  arrived 
at   t  h  e    pre- 
e m inence   it 
enjoyed  in  fur- 
niture o  f  the 
Directoire 
and  E  m  p  i  r  e 
periods.     The 
perfect    sim- 
plicity and  bal- 
ance of  parts 
in  the  secre- 
taire belonging 
toSirJohnMur- 
ray  Scott,  and 
illustratedhere- 
with,  would 
not   nowadays 
strike   one   as 
displaying  pov- 
erty-stricken 

invention  ;  but  one  ran  easily  understand  the  dissatis- 
faction anyone  would  feel  who  was  brought  up  on 
Rococo  traditions.  It  was  the  reaction  from  the 
excess  in  this  form  of  decoration  that  started  the 
desire  for  simplicity,  and  out  of  the  labyrinth  of  orna- 
ment, in  which  designs  of  the  Regency  were  lost,  the 
path  on  to  perfect  simplicity  was  a  long  one;  but  it 
was  followed  steadily.  Look  at  the  illustration  of  the 
Carlin  lac  cabinet  on  previous  page.  The  forms  are 
as  rigid  as  in  the  Directoire  secretaire;  the  frieze  is 
elaborated  Creek  ornament.  The  connecting  links 
between  the  new  feeling  and  the  old  are  the  bronze 
mounts  at  the  top  of  each  of  the  columns  ;  these  have 
an  affinity  with  the  realistic  masques  of  the  Rococo 
time,  yet  Carlin  was  essentially  a  Louis  XVI.  man. 
The  "  straight  line  "  is  responsible  for  the  charm  in  the 


EMPIRE    DRESSING-TABLE,    slloulM 


other  cab  inet 
i  1 1  u  strated, 
which   also 
finds  a  home 
in  that  wonder- 
ful collection  in 
theRueLafitte. 
The  frieze  of 
the    centre 
panel  is  similar 
to  that  on  the 
lac  cabinet.  But 
certain  details 
are  significant 
of  the  earlier 
date  of  the  de- 
sign, notably 
the  piers  that 
form  the  angles 
to  the  cabinet  ; 
these  have  the 
same    bold 
scrolls  as  Buhl 
was  so  addicted 
to  in  his  large 
artnoires.    Fur- 
ther, the  whole 
feeling  of  th e 
b  r  o  n  z  e  s    o  n 
these  piers  is 
reminiscent  o  t 
much  ol    the 
ornament    ol 
that   period 
k  n  o  w  n     a  s 
LouisXV.  The 
gar  1 ands   of 
flowers   and 
their  sustaining  ribbons  show  a  subtle  difference  to 
the  same  type  of  ornament  executed  in  the  latter  years 
of  Louis  XVI.'s  reign.     We  see  also  in  the  rounded 
medallions,  painted  in  rich  tones,  the  influence  of  the 
curved  line  still  holding  a  place  in  the  designer's  mind. 
It  is,  of  course,  the  change  from  curves  to  straight  lines 
that  differentiates  most  markedly  the  styles  known  by 
the  names  of  the  last  two  kings  of  France  ;  yet  this, 
after  all,  was  but  a  return  to  the  satisfying  severity  i  il 
form  in  the  massive  pieces  of  the  Louis  XIV.  epoch. 
In  those  days  classic  details  were  quite  as  much  ap- 
preciated as  in  the  Napoleonic  era.    The  rams'  head-, 
the  masks  and  grotesques,  the  free  use  of  arabesques, 
what  are  they  but  a   continuation  of  the   Fompeian 
idea?     Practically  only  the  Rococo  has  departed  from 
the  classic  rules:  all  other  periods  of  cultivated  arts 


EGYPTIAN    FEELING    IN     I  1 1  !•:    MOUNTS 


44 


Notes 


Our  Plates 


show  the  basis  of  the 
ideas  of  the  designers  of 
different  centuries  to  be 
purely  classic,  and  this 
most  perfect  of  all  deco- 
rative schools  regarded 
the  "straight  line  "as  the 
fundamental  principle 
for  all  design. 

Sir  Joshua  Reynolds 
has  seldom,  if  ever,  borne 
the  inter- 
pretation 
of  hisworkinbetter  style 
than  in  the  rendering  of 
his  emblematical  figure 
ol  Design,  by  Joseph 
( Irozer.  The  mezzotint 
was  published  in  1794 
by  John  Jeffryes,  and  is 
a  portrait  of  Elizabeth 
Johnson,  afterwards 
Mrs.  1  ) cane,  the  third 
daughter  of  Elizabeth, 
the  younger  of  Rev- 
nolds's  two  married 
sisters.  The  artist 
painted  her  more  than 
once  ;  she  posed  for, 
among  other  subjects,  the  figure  of  Fortitude  in  the 
Oxford  window.  Another  splendid  example  of  the 
mezzotinter's  art  is  figured  in  the  plate,  by  and  after 
1.  R.  Smith,  entitled  What  you  Will,  which  is  one  from 
a  valuable  set  of  four  engravings.  The  dainty  figure 
of  the  girl  seated  in  a  park-like  landscape  presents  a 
particularly  charming  subject,  apart  from  the  beauty  oi 
its  rendering.  We  reproduce  in  this  number  also  the 
companion  to  the  Portrait  of  a  Lady,  by  Adam  Buck, 
which  appeared  in  our  last  issue,  where  we  treated  ol 
the  matter  more  fully.  It  will  suffice  to  add,  however, 
that  the  one  with  which  we  are  now  dealing  is  also  an 
original  drawing  signed  by  the  artist,  and  dated  1.S04. 


DIRECTOIRE    SE<  i  I 


The  remainder  of  our 
plates  deal  with  some 
of  the  most  celebrated 
women  in  English  his- 
tory. Georgiana,  eldest 
daughter  of  the  first  Earl 
Spencer,  was  born  in 
1  757.  and  died  in  1806, 
having  married  the  fifth 
1  >uke  of  Devonshire  in 
1774.  Her  must  notable 
exploit  probably  con- 
sisted in  the  winning 
manner  i  n  wh  ich  she 
canvassed  for  Fox  dur- 
ing the  W  est  minster 
election  of  1  784.  The 
characteristic  portrait  of 
this  lady  by  Sir  Joshua 
Reynolds,  which  we  re- 
produce, is  in  the  col- 
lection of  Earl  Spencer. 
K.C..  at  Althorp,  as  i^ 
also  the  line  portrait 
by  I.ely  of  the  Countess 
oj  Grammont,  who,  as 
Elizabeth  Hamilton, 
married  the  Comte  de 
Grammont  in  1663.  If 
brother  Anthony  n 
the  Memoires  du  Comte  de  Grammont,  which  have 
bectmie  so  famous  as  pictures  of  court  life  under  the 
restored  monarchy. 

In  our  last  issue  we  reproduced  a  line  Portrait  <>J 
the  Infanta  Margarita  Teresa,  by  Velasquez,  which 
forms  a  valuable  asset  to  the  collection  of  Mr.  H.  C. 
Frick,  whose  name  bids  fair  to  be  bracketed  with 
that  of  the  late  Pierpont  Morgan.  In  the  same 
possession  1-  the  beautiful  Portrait  oj  Lady  Skif-.. 
which  was  painted  by  Sir  Joshua  Reynolds  in  1787 
The  subject,  the  wile  of  Sir  Thomas  Georg<  Skipwith, 
is  treated  in  a  manner  consistenl  with  the  artist's 
most  successful  style. 


IACOB    DES.VI  \1.1  \ 


'- 


,;v- 


miuo  tfmpnfrcum 
itruflis  regis 


W 


In  Napoleon  in  Exile  at  St.  Helena  Mr.  Norwood 
Young  has  produced  a  worthy  sequel  to  his  interesting 
account  of  the  emperor's  experi- 
ences at  Elba.  The  present 
narrative  presents  a  more  ignoble 
picture  of  the  fallen  potentate.  His 
mind,  detached  from  great  spheres 
of  activity,  descends  to  little  ones. 
He  devotes  the  same  intellectual 
application  to  inflicting  petty  slights 
on  his  English  captors  as  he  formerly  gave  to  impose  his 
individual  will  on  the  destinies  of  Europe.  Napoleon, 
indeed,  is  less  the  hero  of  Mr.  Young's  volumes  than  his 
much-maligned  guardian,  Sir  Hudson  Lowe.    The  author 


"  Napoleon  in 
Exile  at 
St.  Helena,"  by 
Norwood  Young 
(Stanley  Paul  & 
Co.       2  vols. 
32s.  net) 


proves  him  to  be  an  honourable  and  courteous  gentleman 
who  conducted  himself  with  straightforward  rectitude 
under  exceptionally  trying  circumstances.  The  difficulty 
of  the  situation  lay  in  Napoleon's  attempt  to  abrogate  the 
conditions  of  his  captivity  as  determined  by  the  British 
government.  The  government  refused  him  recognition 
of  his  rank  of  emperor,  and,  in  order  to  prevent  his  escape, 
decided  that  effectual  supervision  was  to  be  kept  over  his 
person.  Lowe's  duty  was  to  enforce  these  conditions, 
and  he  did  so  with  every  regard  to  the  comfort  and  well- 
being  of  his  captive.  Neither  Napoleon's  interests  nor 
his  inclinations  allowed  him  to  acquiesce  in  them  without 
opposition.  He  warmly  resented  the  deprivation  of  his 
title  of  emperor,  and  he  realised  that  if  he  made  the  best 


STEUBEN'S  PII    rl  Rl    Ol     INK  DEATH-BED  OF  NAPOLEON      FROM   "NAPOLEON  IN  EXILE    \1    ST.  HELENA"      (STANLEY   PA1  1     WT'  I  O.) 

46 


-   * 


PORTRAIT  OF  A  LADY 

FROM   A  DRAWING   BY  ADAM   BUCK 


The    Connoisseur    Bookshelf 


ol  things  and  subsided  im<>  .1  complacent  captivity,  sur- 
rounded by  every  material  comfort,  there  was  a  danger  of 
the  public  interest  in  him  subsiding.  This  would  have 
been  fatal  to  the  hopes  and  plans  he  still  cherished.  If 
the  restoration  of  his  empire  was  not  one  of  them,  he  at 
least  desired  to  be  moved  to  where  he  would  be  more  in 
touch  with  his  followers  and  admirers,  ready  to  take  any 
opportunity  for  aggrandisement  that  the  future  offered. 
The  English  opposition,  more  from  dislike  of  the  govern- 
ment than  esteem  of  Napoleon,  were  warmly  in  his 
favour;  he  had  powerful  friends  on  the  Continent  ;  so 
became  his  purpose  to  give  his  supporters  an  excuse  to 
interfere  on  his  behalf  by  making  the  situation  at  St. 
Helena  an  impossible  one.  The  emperor  was  in  a  good 
position  to  do  this.  He  was  surrounded  by  his  suite  and 
servants,  who  were  ready  to  assist  him  by  all  means  in 
their  power;  he  was  in  possession  of  practically  unlimited 
funds  ;  and  among  the  population  of  the  island,  the  troops 
garrisoning  it,  and  the  visitors  from  passing  ships,  were 
many  sympathisers  who  were  willing  to  try  and  circum- 
vent the  necessary  restrictions  put  upon  Napoleon  and 
his  household.  Lowe  was  not  properly  backed  up  by 
the  English  government  ;  though  all  communications 
relating  to  the  prisoner  were  supposed  to  pass  through 
his  hands,  they  encouraged  O'Meara,  the  naval  surgeon, 
who  first  took  the  position  of  English  doctor  in  atten- 
dance on  Napoleon,  to  correspond  direct  with  them.  As 
1  I'Meara,  who  had  been  bribed  by  Napoleon,  was  wholly 
working  in  his  interests,  and  trying  to  upset  Lowe's 
authority,  the  latter  was  placed  in  an  extremely  trying 
position.  O'Meara  was  sent  back  to  England,  where  he 
wrote  a  book  full  of  libels  on  the  governor,  to  which  the 
latter  was  not  permitted  to  reply.  John  Stokoe,  another 
naval  surgeon,  who  after  O'Meara's  departure  was  per- 
mitted to  attend  Napoleon,  was  also  bribed.  Both  doctors- 
furnished  false  reports  of  the  emperor's  health.  His 
idea  was  to  represent  himself  as  succumbing  from  the 
injurious  effects  of  the  St.  Helena  climate  and  the  harsh 
treatment  of  his  captors.  To  ^i\e  colour  to  the  last 
idea  he  first  loaded  Lowe  with  insults,  and  then  kept 
himself  concealed  from  the  officers  appointed  to  attest 
his  presence  in  the  island,  his  scheme  apparently 
being  to  force  the  governor  to  use  violence  to  assure 
himself  of  the  safety  of  his  charge.  Lowe's  tact  and 
a  1  it  foiled  this.  Then  the  ironic  hand  of  fate 
intervened.  Napoleon,  who  had  been  shamming  illness 
for  his  own  purposes,  became  dimly  consi  ious  that  he 
was  afflicted  with  a  mortal  disease.  lie  who  was  such 
an  adept  111  deceiving  others  now  tried  to  deceive 
himself  into  the  belief  that  all  was  well  with  him.  The 
violent  exercise  he  took  with  this  idea  may  probably 
ha  1  hastened  his  death.  It  was  a  misfortune  to  Lowe 
that  it  happened  during  his  tenure  ol  office,  lor  it  gave 
point  to  many  libels  concerning  him  which  otherwise 
would  have  been  forgotten.  The  English  government, 
fearful  that  their  misdealings  with  his  subordinati 
would  come  to  light,  prevented  him  from  making  any 
publii  defence;  and  though  later  writers  have  disposed 
ni  ome  of  the  grosset  slanders,  Me  Norwood  Young's 
interesting  book  is  the  first  to  do  him  adequate  1 


V&IERICAN   art   emu  ism     s  generally  tinctured   by  a 
strong  element  of  conservatism.     This  is  shown  in  the 
volume  of  essays  by  Mr.    Kenyon 
"Artist  and  the  Cox,  who  uses  his   virile   pen  to  ex- 

Public,  and  Other    press  opinions   not   greatly  differing 
Essays  on  Art  from    tnose   llelci   by  the  majority  of 

Subjects,"  by  English    critics   about    forty  or   fifty 

Kenyon  Cox  v(.^   back       Th;s  does  not   impl>. 

(George  Allen  '^   th       arg  correct)  ()r  (.ven  out  of 

and  Unwin 

date,    t.11    artistic   taste  moves  in 
5s.  net)  ,  ,    .     .  ,  1       , 

cycles,   and   it  is  quite  possible  that 

what  may  seem  reactionary  views  to-day  may  become 
the  leading  inspiration  of  the  most  advanced  artists  ot 
to-morrow.  Mr.  Cox  is  an  advocate  of  established 
tradition  in  art  ;  lie  has  a  healthy  contempt  for  post- 
impressionism  and  other  modern  cults,  and  shows  but 
scant  sympathy  for  nineteenth-century  impressionism. 
He  even  damns  Whistler  with  faint  praise,  and  finds  the 
great  strength  of  modern  American  art  is  in  its  affinity 
to  that  of  the  old  Italian  masters.  One  can  sympathise 
with  much  —  perhaps  even  the  major  portion  of  what 
the  writer  advocates,  which  is  substantially  a  return  to 
methods  of  painting  based  on  tradition  and  common 
sense — but  one  feels  that  he  pushes  his  conclusions  too 
far.  The  logical  deduction  from  them  is  that  artists 
should  paint  not  what  they  want,  but  what  the  publii 
want.  This  would  save  us  from  much  bad  art,  but  it 
would  also  prevent  much  of  the  greatest  art  from 
being  produced.  Mr.  Cox's  contention  is  that  such  a 
stall-  of  affairs  existed  until  the  beginning  of  the  nine- 
teenth century,  before  when,  "with  the  exception  ot 
Rembrandt,  .  .  .  you  will  scarce  find  an  unappre 
ciated  genius  111  the  whole  history  of  art."  The  write] 
has  obviously  forgotten  the  history  of  the  Dutch  - 
m  which  the  neglect  of  genius,  so  tar  from  being  the 
1  eption,  was  rather  the  rule,  Hals,  Jan  Stcen,  Vermeer 
of  Delft,  Pieterde  Hooch,  Jacob  van  Ruisdael,  Hobbema, 

and  many  others,  all  faring  as  badly,  if  not  worse,  than 
their  great  compatriot.  To  David,  whom  Mr.  Cox  styles 
"the  first  of  the  moderns,"  a  title  not  usually  given 
to  this  reactionary  artist,  the  author  ascribes  the  be- 
ginning of  the  confusion  in  modern  art.  He  "felt  it 
necessary  to  destroy  the  traditions  of  an  ait  crea 
the  aristocracy.  In  his  own  art  of  painting  he 
so   thoroughly  that   the   pa  1   the  next  generation 

found    themselves    with    no  traditions  at  all/'       This  is 

surely  a  somewhat   1 of  the  matter,     1' 

was  les^  David  than    the    moral    sentiment  ot    the    1 
Resolution  which  destroyed  the  questionable  art  of  the 

aristocratic  regime  which  preceded   it       David,  fai   I 

leaving  artists  without  traditions,  re-established  the 
classical    tradition    winch   was   bin  art   ol   the 

Continent  tor  fifty  years,  Mr.  Cox  should  feel  sympathj 
t,ii  i.ne  who,  to  .1  1  ertain  exti  nt,  was  his  precursor.  The 
American  writer,  in  his  es^.iys  on  Raphael,  Millet,  and 
Augustus  Saint-Gaudens,  show  lily   in 

sympathy  with  the  clas   cal  spirit  in  ai        1    ivould  leaven 
the  vagarii      ponsibility  of  modernity  with  in- 
spiration draw  11  from 
in   the    past.      David   had    a    similar   ambition:    that    his 


4'l 


The   Connoisseur 


efforts  were  on  the  whole  detrimental  to  the  cause  of  art 
was  owing  less  to  the  incorrectness  of  his  ideals  than 
that  he  failed  to  cany  out  his  own  precepts  and  base 
his  work  on  nature  ;h  well  as  on  the  masterpieces  of 
the  past. 

The  scholastic  s\stem   of  England   is  almost  as  old 

is  the  nation.      Before  the  Anglo-Saxons  had  thoroughly 

settled  down  in  their  then  new  con- 
"The  Schools  (|lR.>t     and    ,ong   before   they   had 

of  Mediaeval  ,        , 

united  into  one  people,  Augustine 
England,"  by  .,         ... 

.    "    _    '  came  among  them,  like  a  missionarv 

A.  F.  Leach  .  ,  ,  .  ,,.,', 

„  _,      .      .  of  the  present  day,  and  established 

,     r,     ,     „         not  only  the  Church,  but  the  schools 
quary  s  Books 

Methuen  &  Co.,  wh,c!l  "ere  to  suPP'y  "  w'th  future 
Ltd.  7s.  6d.  net)  Priests  :ind  adherents.  Mr.  A.  F. 
Leach  awards  to  Canterbury  the 
distinction  of  being  the  first  school  founded  in  the 
country,  and  though  his  contentions  may  be  disputed  by 
the  advocates  of  one  or  two  other  claimants  for  priority, 
they  seem  to  be  practically  unassailable.  It  is  almost 
certain  that  the  school  was  founded  in  the  year  598  ;  in 
631  it  had  "already  a  custom  of  its  own,  and  was  estab- 
lished enough  to  become  models  for  other  kingdoms." 
The  schools  of  Rochester  and  St.  Paul's,  London, 
probably  date  from  604.  Of  other  famous  schools  Win- 
chester has  some  claims  to  be  considered  as  the  place 
where  Alfred  the  Great  was  educated,  and  was,  at  any 
rate,  flourishing  in  the  year  1001  ;  Eton  was  founded  by 
Henry  VI.  :  while  Harrow,  which  did  not  come  into 
being  until  1571,  is  too  modern  to  come  within  the  scope 
of  Mr.  Leach's  interesting  volume.  Mediaeval  England 
appears  to  have  been  far  better  supplied  with  schools 
than  was  modern  England  until  a  comparatively  short 
time  ago;  thus  in  1377  there  was  one  school  to  about 
every  five  thousand  inhabitants,  whereas  in  1864  the 
proportion  was  only  about  a  fifth  of  this.  In  spite,  how- 
ever, of  the  ample  "supply  of  schools,  the  results  were 
disappointing."  The  scholars  very  largely  went  to  swell 
the  ranks  of  the  celibate  clergy,  and  so  remained  apart 
from  the  family  life  of  the  nation,  and  it  was  not  until 
after  the  Reformation  that  the  country  reaped  the  full 
advantage  of  its  scholastic  institutions.  Much  interesting 
light  is  thrown  on  the  treatment  of  the  scholars  during 
mediaeval  times.  Flogging,  of  course,  was  an  insepar- 
able part  of  their  regimen.  Stripes  were  considered  a 
necessary  concomitant  to  learning.  Everyone  had  to 
endure  them,  even  a  crowned  king  not  being  exempt. 
Richard  Earl  of  Warwick,  when  tutor  to  Henry  VI.,  find- 
ing his  royal  pupil  was  beginning  to  resent  his  chastise- 
ment, appealed  to  the  council  to  support  his  authority,  and 
the  punishments  continued  until  the  king  had  completed 
his  education.  Though  the  nominal  hours  of  tuition 
were  far  longer  than  the  present  time,  the  occurrence 
of  numerous  saints'  days,  which  were  kept  as  whole  or 
partial  holidays,  prevented  the  pupils  from  being  over- 
worked. Mr.  Leach  gives  an  immense  amount  of  in- 
formation about  the  foundation  of  early  schools,  their 
endowments,  the  fees  paid  by  scholars,  and  the  salaries 
of  the  masters  :  and  his  work,  if  not  exactly  light  reading. 


is  full  of  interesting  information.  The  illustrations,  of 
which  there  are  over  forty,  are  in  nearly  all  instances  re- 
produced from  contemporary  manuscripts  and  sculpture. 

The  third  volume  of  The  King's  Ships  begins  with  the 

history  of  the  "  Endymion  "  and  concludes  with  that  of 

the  "Jupiter."  The  vessels  of  which 

1  lie  K.mg  s  an   account   j3  given  include  many 

"  '        '  names    famous    in    English    naval 

Commander  ,  ■  ,  .,      ,   ., 

IT  „  .  ,  history,  ami  the  letterpress  recount- 
H.  b.  Lecky  , '  ,      ,    .        ,  .  ,     , 

„  .   TII  ing  the  stirnng  deeds  in  which  they 

,tt  M    .  took  part  is  illustrated  with  numerous 

(Horace   Muir-  v 

head.  In  6  vols.  >'lates  reproduced  from  interesting 
at  £2  2s.net  each)  contemporary  pictures  and  prints. 
These,  perhaps,  show  greater  variety 
than  in  the  preceding  volumes.  Original  pictures  and 
drawings  have  been  utilised  to  a  greater  extent,  including 
those  of  many  artists  whose  work  is  now  little  known. 
Though  the  illustrations  are  generally  on  a  comparatively 
small  scale,  and  the  quality  of  some  of  the  blocks  might 
be  improved,  the  work,  when  finished,  will  not  only  be 
the  most  complete  and  authoritative  history  of  the  ships 
of  the  Royal  Navy,  but  also  by  far  and  away  the  best 
record  of  English  naval  art.  Though  the  larger  portion 
of  the  plates  in  the  third  volume  are  reproduced  from 
photographs  and  a  substantial  proportion  of  the  re- 
mainder from  anonymous  works,  over  fifty  artists  are 
represented,  beginning  with  Anthony  Anthony,  a  painter 
of  the  time  of  Henry  VIII.  A  number  of  the  illustrations 
serve  to  remind  one  that  before  the  days  when  photography 
rendered  the  sketches  of  the  "man  on  the  spot"  almost 
superfluous,  the  Navy  numbered  many  capable  amateurs 
in  its  ranks.  Yice-Admiral  R.  B.  Beechey,  the  son  of 
the  well-known  portrait  painter,  was  a  frequent  exhibitor 
at  the  Royal  Academy  ;  Admiral  Sir  Edward  Inglefield 
was  also  represented  on  the  walls  at  Burlington  House  : 
while  among  other  officers  whose  work  is  reproduced  are 
Captain  J.  Brenton  and  Lieutenant  P.  W.  1'ontifex, 
these  plates  being  neither  the  least  able  nor  interesting 
in  the  volume.  Turning  to  the  letterpress,  one  would 
suggest  that  in  future  volumes  Commander  Lecky  might 
be  more  explicit  regarding  the  armament  of  modern 
ships.  In  the  days  of  the  old  wooden  ships  the  im- 
portance of  a  vessel  was  rightly  gauged  by  the  number 
of  guns  it  carried,  but  with  the  introduction  of  the  iron- 
clad the  calibre  of  the  guns  gradually  became  so  varied 
that  a  ship  carrying  half  a  dozen  might  have  a  far  more 
powerful  armament  than  another  with  thrice  the  number. 
Unless  this  is  pointed  out,  the  casual  reader  may  carry 
away  quite  a  wrong  impression  from  the  facts  recorded. 
Thus  at  first  sight  the  third  "Inflexible" — a  six-gun 
paddle  sloop,  launched  in  1845 — would  seem  to  be  more 
powerful  than  its  successor  of  1876,  which  only  contained 
four  guns  ;  and  it  is  not  everyone  that  will  recall  that 
these  guns  were  each  of  80  tons,  and  the  most  powerful 
which  up  to  that  date  had  ever  been  placed  in  a  warship. 
Similar  misconceptions  may  arise  in  regard  to  the  war- 
ships of  the  existing  fleets,  the  primary  and  secondary 
armament  of  which  is  not  differentiated,  six-inch  and 
twelve-inch  guns  being  indiscriminately  grouped  together 


The    Connoisseur   Bookshelf 


in  the  one  aggregate.  While  making  full  use  of  official 
records,  Commander  Lecky  has  largely  supplemented 
them  with  items  drawn  from  various  sources.  These,  it 
must  be  confessed,  make  by  far  the  more  lively  reading, 
and  the  author  is  to  be  congratulated  on  his  success 
in  bringing  so  much  fresh  material  together.  At  the 
present  time  the  history  of  the  king's  ships  possesses 
an  unique  interest,  and  those  who  study  it  will  find  that 
the  comparatively  small  number  of  disasters  which  have 
chequered  the  naval  successes  during  the  present  war 
have  had  their  counterpart  during  almost  every  long 
struggle  in  which  the  nation  has  been  engaged.  The 
record  of  the  Royal  Navy  is  not  wholly  one  of  victory  ; 
the  price  of  admiralty  has  been  paid  for  in  many  an 
isolated  and  hopeless  struggle  against  overwhelming 
odds,  as  well  as  in  those  great  fleet  battles  and  innumer- 
able sea  duels  in  which  the  English  were  triumphant. 
Supremacy  in  the  Seven  Seas  is  no  small  thing  to  acquire, 
and  to  maintain  it  costs  a  constant  expenditure  of  blood 
and  treasure. 

THOUGH  the  leading  principles  of  etching  have  been 

si  an  el y  modified  since  the  time  of  Rembrandt,  the  number 

of  appliances  and  materials  used  in  its 

lng:  production  have   largely  increased 

.      ,,  ,  during  recent  years.      Most  of  these 
Treatise       bv 

„     ,  ,,   '        ,  additions,  if  not  indispensable,  are  at 

Earl  H.  Reed  ,                 .  ,          ,     ,      ,                     , 

,r^   -r,   t>  .         least   useful,   and   the   beginner  who 

(G.  P.  Putnam's  .     '                         °     .            . 

r  makes  himsell  acquainted  with  their 

e  ,,  various  properties  stands  at  a  con- 

siderable advantage  to  one  who 
contents  himself  only  with  a  knowledge  of  the  appliances 
formerly  used.  Mr.  Earl  H.  Reed's  practical  treatise  on 
etching  goes  into  this  phase  of  the  subject  very  thorough- 
ly. His  list  of  the  articles  contained  in  an  etcher's 
equipment  occupies  over  three  pages,  and  comprises 
about  a  hundred  separate  items.  Whether  these  are  all 
necessary  or  not  may  be  a  matter  of  question  ;  but  as 
the  author  explains  clearly  and  in  full  detail  the  purpose 
of  every  item,  the  reader  is  put  into  a  position  to  discard 
anything  that  does  not  commend  itself  to  his  ido.i^  ol 
utility.  With  the  same  exemplary  thoroughness  the 
writer  describes  the  different  varieties  of  etching  and  the 
methods  best  applicable  to  each  ;  the  printing  of  the 
plates,  the  preparation  of  etching  grounds,  and  the 
other  multifarious  processes  connected  with  the  produc- 
tion of  an  etching.  On  all  these  subjects  Mr.  Reed  can 
be  recommended  as  a  reliable  guide  ;  he  is  not  only  a 
competent  etcher  himself,  but  what  is  more  to  the  point, 
he  recognises  that  his  reader  may  be  wholly  ignorant 
of  etching,  and  so  thoroughly  enlightens  him  as  to  the 
elementary  as  well  as  the  more  advanced  portions  of  the 
subject.  The  two  original  platen  given  by  the  author  as 
illustrations  are  both  good  subjects,  a  good  effect  being 
gained  in  each  by  simple  and  direct  treatment.  A  third 
plate,  showing  the  different  methods  of  etching,  would 
probably  have  served  its  purpose  bettei  ii  executed  on 
a   larger  scale.        Perhaps    the    most    interesting    of   the 

illustrations,  however,  is  the  one  gi\  ing  | reprodui 

tions  of  two  subjects,  naturally  and  artificially  printed.    In 


the  former  method  the  effect  of  the  etching  owes  practi- 
cally nothing  to  the  artistic  skill  of  the  printer.  The 
plate  is  wiped  clean  of  surface  ink,  and,  consequently, 
only  the  actual  work  of  the  etcher  reproduces  in  the 
printing.  The  artificial  method  elevates  the  craftsman- 
ship of  the  printer  into  almost  as  great  an  importance 
as  the  art  of  the  etcher.  The  surface  of  the  plate, 
instead  of  being  wiped  clean,  is  carefully  manipulated 
so  that  ink  is  left  in  those  places  where  its  presence  will 
be  advantageous  in  giving  additional  depth  and  tone  to 
the  print.  This  method  is  legitimate  to  a  certain  extent, 
but  it  may  be  easily  so  extended  that  the  etched  work 
becomes  merely  a  skeleton  outline  to  guide  the  printer 
in  arranging  his  ink  ;  so  that  the  impression  taken  oft  is 
really  more  of  a  monotype  than  an  etching. 

The  issue  of  the  Year- Book  oj  American  Etching  for 
1914  makes  one  regret  that  there  is  not  a  similar  publi- 
cation for  English  work.    The  hundred 
admirably  reproduced  examples   it 

contains  are    taken   from   the   last 
Etching,  1914 

(John  Lane 

10s.  6d.  net) 


"  Year-Book  of 
American 


annual  exhibition  of  the  Association 
of  American  Etchers.  The  exhibition 
of  the  Royal  Society  of  Painter- 
Etchers  would  afford  at  least  an  equal  field  for  selection, 
and  a  well-mounted  volume  filled  with  judiciously  selected 
subjects  would  prove  equally  as  valuable  a  record  for 
English  art  as  is  the  present  publication  for  American. 
The  subjects  will  not  all  be  entirely  fresh  to  English 
readers,  for  a  number  of  them  have  been  shown  in  exhi- 
bitions on  this  side  of  the  Atlantic,  from  where  tin 
majority  of  the  themes  have  been  gathered.  This  point 
is  touched  upon  by  Mr.  Forbes  Watson  in  his  foreword 
to  the  volume,  in  which  he  gives  utterance  to  a  faint 
note  of  regret  at  the  cosmopolitan  spirit  of  American  ait. 
He  points  out  that  the  work  of  I  hirer,  Rembrandt,  <  '.ova. 
and  Meryon,  because  of  its  native  quality,  "has  a  fiavoui 
that  Whistler  has  not,  a  tang  that  he  misses."  But  is 
this  so  ?  Those  who  know  subdued  yet  exquisitely  tinti  d 
tones  of  London's  ^rey  atmosphere  can  see  in  Whistler's 
Thames-side  harmonies  and  nocturnes  an  art  as  true  to 
tin-  s.  enes  which  inspired  them  and  as  racy  of  the  soil  on 
which  they  came  into  being  as  Meryon's  Paris  scenes; 
nor  are  Whistler's  Thames  side  etchings  less  English 
than  the  plates  of  Rembrandt  are  Dutch.  The  truth  is 
that  Whistler's  art  was  neither  cosmopolitan  nor  Ami 
can,  but  Anglo  Saxon,  and  one  fancies  that  the  best  "l 
both  American  and  English  work  in  the  future  will  have 
to  come   under  the   same   generic    heading.       In   the   fine 

series  of  etc  lungs  which  Mr.  Forbes  Watson  has  selei  ted 
for  illustration  it  can  hardly  be  said  of  one  of  them  that 
it  is  so  distinctively  American  in  sentiment  and  feeling 

that  it  could  not  have  been  produced  by  ,u\  English 
man;  we  might  claim  them  as  an  offshoot  of  English 
art  were  it  not   equally    possible    for   Americans   to   claim 

,,in  etchinj  1     offshoot  of  theirs.     The  moral  senti 

iiient.  taste-,  and  artistic    feeling  of  the-   two   c  cumin, 

so  close  U  allied  that  any  new  and  sane  development  in 

the  art  of  the  one-  will  in<  \  itabl      -         '    nspiration 

to  the  art  of  tin   othi 


;' 


The  Royal  Society 
of  Painters  in 
Water-Colours 

themes  than  usual 


The  164th  exhibition  of  the  Royal  Water  ■  Colour 
Society  5A,  Pall  Mall  East),  though  one  of  the  smallest 
that  has  been  seen  of  recent  years, 
was  far  from  being  the  least  in- 
teresting. The  artists  represented 
departed  more  from  their  customary 
there  was  the  charm  of  the  unex- 
pected about  their  work,  and  this,  it  must  be  confessed, 
exercises  a  peculiar  and  inordinate  fascination  over  the 
mind  of  the  critic.  Novelty  of  theme,  in  itself,  hardly 
constitutes  an  artistic  merit.  Its  value  is  derived  from 
the  freshening  influence  it  exercises  on  the  mind  of  the 
artist.  Confronted  with  a  problem  of  form  and  colour, 
already  successfully  solved,  brain  and  hand  are  apt  to 
work  mechanically,  and  art  degenerates  into  mere  crafts- 
manship. This  is  not  always  so.  You  have  some  artists 
who  approach  an  often-repeated  theme  with  the  zest  of 


an  enthusiastic  golfer  starting  a  round  over  his  club 
course.  Most  of  the  Dutch  masters  come  within  this 
category,  and  some  of  the  British,  like  Constable  or 
Raeburn.  The  critic  may  be  delighted  with  their  repeated 
essays,  and  yet  if  he  descends  not  into  trivialities,  what 
can  he  say  about  them  which  he  has  not  already  said 
about  their  predecessors?  One  may  take  Mr.  Napier 
Hemy's  coasting  seascapes  as  a  case  in  point.  The  Pretty 
Sailing  at  the  R.W.  S.  was  a  characteristic  example  of 
the  theme  he  has  made  peculiarly  his  own — a  fishing-boat 
cutting  over  the  blue,  breeze-driven  waves  of  the  Channel. 
Mr.  Hemy's  observation  is  always  true,  his  handling 
finished  without  being  laboured  ;  he  transmits  what  he 
sees  in  fresh  and  pleasant  colour,  and  imparts  to  his 
work  the  vitality  which  comes  of  a  lively  and  sympathe- 
tic appreciation  of  his  subject.  All  these  characteristics 
were  to  be  found  in  the  Pretty  Sailing,  but  it  revealed 


!  I  VYMATES 


BY   O.  WYNNE    \PPEK1.EY,    R.I. 


BY    Kixr,    PERMISSION    OF    CHAS.  CARPENTER,    ESQ. 


5- 


( 'urrent   A '  vt   Notes 


nothing  fresh  in  the  art  or  outlook  of  the  painter.  On 
this  account  one  turned  to  his  On  the  Rocks :  Low  \\'<itcr 
with  a  greater  zest.  It  showed  a  broad  stretch  of  bould- 
ers and  stones  covered  with  a  tangle  of  sea-weed,  with  a 
glimpse  of  sky  beyond  the  low  sea  horizon.  To  merely 
say  that  there  was  not  a  more  direct  or  sincere  study 
from  nature  in  the  exhibition  might  seem  to  imply  a  slur 
on  its  pictorial  merits,  for  nature  requires  editing  before 
being  transferred  either  to  paper  or  canvas.  Mr.  Hemy 
had  done  this,  with  that  appearance  of  artlessness  which 
is  the  crowning  gift  of  the  artist.  The  introduction  of 
two  or  three  figures  gave  life  to  the  scene;  the  high  lights 
on  their  white  draperies  both  relieved  and  put  into  place 
the  dark  masses  of  rock  and  sea-weed  in  the  foreground, 
and  gave  distance  to  the  brighter  stretches  of  sea  and 
sky  beyond,  and  thus  converted  what  might  have  been 
only  an  interesting  study  into  an  adequate  and  complete 
pictorial  arrangement.  How  important  this  process  of 
editing,  or,  as  one  may  better  term  it,  selection,  is  often 
illustrated  in  the  work  of  Mr.  Sargent.  He  is  probably 
the  most  able  executant  among  living  artists,  and  the 
power  of  his  brush-work  is  sufficient  to  give  any  pictorial 
memoranda  by  him  an  artistic  interest.  He  is  apt  to 
presume  on  this,  and  appears  to  wilfully  choose  themes 
which  have  slight  pictorial  attraction  so  as  to  render  the 
unaided  display  of  his  technical  skill  the  more  convinc- 
ing. His  drawing  of  In  Tyrol  may  be  cited  as  a  typical 
example  of  this.  Three-quarters  of  it  were  filled  with  the 
blank  side  of  a  log  hut.  Even  Mr.  Sargent's  sentient 
brush-work  could  not  make  this  fascinating,  and  the  two 
figures  introduced  in  the  far  corner  of  the  work  were  not 
sufficient  to  redeem  it.  His  Boats  on  the  Lake  of  Garda, 
though  much  slighter,  was  the  more  satisfying.  The 
subject  was  picturesque;  its  components  —  some  white- 
sailed  boats,  a  patch  of  blue  water,  and  a  background 
of  sunlit  sky — were  well  arranged,  and  the  handling, 
though  slight,  conveyed  a  wonderfully  adequate  sense 
of  colour,  sunlight,  and  atmosphere.  From  Mr.  Sargent 
to  Miss  E.  Fortescue  Brickdale  one  goes  to  the  opposite 
poles  of  artistic  outlook.  Mr.  Sargent  is  a  realist,  and 
his  handling  swift  and  spontaneous;  while  Miss  Brick- 
dale  paints  her  romantic  essays  with  careful  elaboration. 
Her  Truth  and  Fiction  was  one  of  her  best  work-.,  well 
drawn,  composed,  and  coloured. 

Mr.  Reginald  Barrett  was  another  artist  whose  highly 
finished  work  was  seen  to  advantage  His  (  enlral  Doot 
way,  St.  Mark's,  Venice,  maybe  said  to  represent  the 
prose  of  painting  .is  good  in  its  way  as  poetry  but  not 
belonging  to  the  same  order.  One  had  a  clear  and 
beautifully  expressed  statement  of  form  and  1011.111,  1111- 
11  pned  but  set  down  with  tine  craftsmanship.  Mr.  S.  J. 
Lamorna  Birch's  /  tew  showed  a  wide  expanse  of  1  ountry, 
backed  by  gathering  clouds  and  mist,  .is  seen  from  the 
summit  of  a  steep  bluff  in  the  foreground.  It  was  lighted 
up  with  silvery  sunshine — the  sunshine  that  has  bright 
lies-,  without  warmth  ami  forebodes   ne.n    approaching 

rain;    the    clearness   of    the    landscape,     and    the    m 
thai   obscured  the  forms  of  the  nearer  clouds,   gave  the 
same   message.      The   artist   had    realised   the  scene  with 
fine  atmospheric  verisimilitude,   and   in  colour  that   "a- 


both  delicate  and  sparkling;  yet  perhaps  the  gr< 
charm  of  the  work  was  in  that  indescribable  quality 
which  one  loosely  describes  as  feeling — a  sense  that  the 
artist's  personality  is  expressed  in  the  work.  Mrs.  Laura 
Knight's  several  contributions  were  of  a  varied  charai  ter, 
Among  them  were  two  well-painted  cliff  scenes,  in  which 
the  spectator  was  supposed  to  be  looking  down  into  the 
picture  from  a  greater  height  than  the  immediate  fore- 
ground, an  effect  which,  though  legitimate,  is  rarely  wholly 
convincing;  and  a  somewhat  slightly  handled  landscape 
entitled  The  Magpie,  which  only  wanted  to  be  carried 
a  little  further  to  be  one  of  the  finest  examples  of  the 
artist.  Her  outlook  in  this  was  pre  -  Raphaelite,  the 
whole  detail  of  the  scene  having  been  realised  without 
material  suppression  of  facts,  and  with  the  feeling  that  it 
was  all  worthy  of  record.  The  handling,  though  broad 
and  rather  inclined  to  sketchiness,  was  adequate  1 
in  the  foreground.  Here  a  large  space  of  blank  papei 
had  been  left,  which  disagreeably  attracted  the  eye,  and 
helped  to  bring  the  distance  unduly  forward.  A  little 
more  labour  expended  in  this  portion  of  the  work  would 
help  to  give  a  feeling  of  completeness  to  the  work  at 
present  wanting.  Mr.  \V.  Russell  Flint's  fine  clas,  .  al 
landscape  The  Prospect  was  worthy  of  the  position  of 
honour  awarded  it.  Dignified  in  arrangement,  sustained 
in  tone,  and  rich  and  harmonious  in  coloration,  its  only 
failing  was  a  want  of  restfulness,  sky  and  landscape 
equally  claiming  the  interest  of  the  spectator.  One 
might  with  some  diffidence  suggest  that  if  the  details  ot 
the  ranges  of  hills  in  the  middle  distance,  towards  the 
left,  had  been  simplified,  the  work  would  have  gained  111 
unity.  Mr.  Charles  Sims  was,  as  usual,  not  less  charming 
than  tantalizing.  His  work  is  curiously  fascinating. 
About  the  worst  of  it  there  is  always  a  suggestion  of 
beauties  not  fully  revealed.  It  affects  one  like  thi 
of  .1  pretty  woman  partially  hidden  by  a  veil  ;  one  feels 
that  the  artist's  conception  is  insufficiently  realised;  the 
work  requires  to  be  carried  further  before  the  tantalizing 
tions  become  splendid  realities.  This  failing  was 
not  shown  in  .  /  Rose,  a  daintily  expressed  figure  of  a  little 
girl,  wholly  true  to  life  in  its  realisation  of  the  arch- 
timidity  of  childhood,  yet  invested  with  esoteric  charm. 
Ibis  tiny  morsel  of  humanity,  naked  ami  unashai 
holding  out  the  rose  ot  love  without  comprehending  its 
significance,  might  well  have  typified  Psyche  making  hei 
Inst  exploration  of  the  garden  ol  I  lipid  Cupid  h 
was  hown  in  Love  in  A  ng  r,  breaking  his  bow  amidst 
some  lonely  rocks.  The  work  was  charming  in  its  sugges- 
tion, and  adequately,  but  not  over-a pn 

So  much  could  nol   bi      aid   for    The  Basket  q 

po    ed  on  the  head  of  an  undraped  girl,  and  backed  by  a 

crimson  itreamer,  which  appeared  supported  by  nothing. 

1  1 mplete  attitude  ol  the  girl's  figure,  the  upper  pan 

of  which  was  half-turned  round,  demanded  explicit  ex 
pression.  Mr.  Sims  had  neglected  to  give  this,  with  the 
result  that  it  demanded  1  lose   scrutil  1  uuine  that 

the  up  pn  pari  ol  hi  1  bust  was  not  meant  to  represent  hei 
shoulder-blade.       Perhaps  Mr.   K.   Anning   Bi 
1  losely  akin  to  Mr.   Sims  in  investing  his  pictures  with 
esol ■   !      on;  bul  while  Mr.  Sims',  con  epi  ons  are 


The    Connoisseur 


lightand  fanciful,  those 
of  Mr.  Bell  are  i  m- 
b u e d  with  m y s t i c 
feeling.  H  is  Echo 
represented  a  bevy 
of  young  girls,  some 
undraped  and  others 
garbed  in  raiment 
rich  yet  not  bright  in 
colour,  standing  at 
the  foot  of  a  huge 
cliff.  The  theme  was 
joyous,  and  yet,  with- 
out introducing  any 
element  of  tragedy  or 
any  discordant  note 
to  mar  the  beauty 
with  w h  i c h  he  ha d 
invested  each  figure, 
Mr.  Hell  had  sur- 
charged it  with  a 
subtle  melancholy. 
The  cliff  rose  up  out 
of  the  right  of  the 
picture  like  a  deep 
black  shadow;  there 
was  no  laughter  on 
the  lips  of  the  maid- 
ens ;  the  colouring, 
though  rich  and  sus- 
tained, was  devoid  of 
any  blithesome  ac- 
cent. One  must  leave 
the  work  as  an  enigma, 
perhaps  an  unsolvable  one,  the  strain  of  sadness  which 
suffuses  it  having  no  more  tangible  meaning  than  the 
plaintive  melody  of  the  nightingale,  and  possessing  a 
similar  haunting  fascination. 

Mr.  W.  J.  Wainwright's  Captive  showed  his  usual 
scholarly  and  highly  finished  art  ;  while  Mr.  Robert  W. 
Allen  gave  a  typical  rural  landscape  in  Winter,  U.S.A., 
the  clearness  of  the  atmosphere  which  distinguishes 
America  from  England  being  well  suggested.  Mr.  J.  W. 
North's  Study  fur  "  The  Bride  in  Blue  "  showed  refined 
and  tender  handling,  the  general  colour  being  carefully  re- 
strained to  lead  up  to  the  one  poignant  note  in  the  picture, 
a  patch  of  blue  which  gleamed  like  a  jewel  in  an  appro- 
priate setting.  The  Venus  ami  Adonis  of  Mr.  Claude  A. 
Shepperson  was  a  Boucher-like  subject  set  down  with 
grace  and  refinement  in  glowing  autumnal  colour.  Of 
the  several  fine  examples  by  Mr.  Harry  Watson,  his 
Evening  Light  was  perhaps  the  most  noteworthy.  It 
represented  a  quiet  river  bank  shaded  over  by  dark 
foliage,  in  the  midst  of  which  a  single  tree  was  flooded  by 
a  shaft  of  golden  light,  making  its  trunk  and  leaves  flame 
into  brilliant  colour.  The  effect  was  realised  with  full 
truth  but  without  exaggeration.  In  this  and  his  other 
work-..  Evening  Light  and  A  Tale  of  Romance,  Mr. 
Watson  had  invested  his  work  with  a  romantic  sentiment 
which  recalled  the  feel  ing  of  the  early  pre- Raphaelite  artists. 


SOIIO     PI  il  I  ERA' 


The  National 
Portrait  Society 

Modern  portrait 
painters  would  do 
well  to  remember  that 
originality,  like  genius, 
is  a  spontaneous 
growth.      In  the  exhi- 
bition of  the  National 
Portrait   Society,    at 
the  Grosvenor  Gallery, 
forgetfulness   of   this 
fact  was   apparent  in 
much  of  the   work 
shown.     There  were 
numerous  examples  in 
which  the  artists  had 
tried   to   ge  nerate 
originality  by  a  sedu- 
lous avoidance  of  any 
likeness  to  orthodox 
contemporary  painting 
and  a  studied  neglect 
of  nature.     Such  work 
is   ephemeral,   having 
neither  value  as  a 
historical  record  nor 
as  a  piece  of  good  art. 
Mr.   Augustus    John's 
Two  D  i  s  e  i p  1  e  s,   an 
essay  in  the  Grasco- 
Roman   manner  of 
the  Egyptian  mummy- 
case  painters  of  the 
third  century,  or  his  Fisher  Lad,  in  the  Florentine  style 
of  the  fifteenth  century,  and  Mr.  Walter  Sickert's  Por- 
trait of  a  wooden-visaged  man  looming  through  a  dark 
mist,  were  only  interesting  as  eccentricities.    There  were 
other  works  to  which  a  similar  description  can  be  ap- 
plied, but  the  offending  artists  were  scarcely  of  sufficient 
note   for  their   influence  to   be   seriously  detrimental  to 
the  cause  of  art.       Both   of   Mr.    W.   Strang's  two  ex- 
amples.   The  Mirror  and  the  Red  Fez,  had  been  seen 
before.     The  latter  was  a  well-characterised  portrait  of 
the  artist,   free  of  affectation,   in  which   full  justice  had 
been  done  to  atmospheric  values.     The  two  last  criti- 
cisms applied  with  equal  force  to  The  Mirror,  a  picture 
showing  a  girl  holding  out  her  skirts,  with  an  attendant 
in   the    background.     The   canvas,    however,    appeared 
too  small   for   the  composition,   the  significance  of  the 
action  of  the  principal  figure   being   not  easily  compre- 
hended owing  to  the  lower  portion  being  cut  off  by  the 
frame. 

Mr.  1'hilip  Connard's  William  Cleveley  Alexander, 
Esq.,  was  as  much  a  genre  picture  as  a  portrait.  The 
artist  is  among  the  few  who  can  introduce  strongly 
painted  accessories  in  his  work  without  detracting  from 
the  pictorial  interest  of  his  sitters.  This  was  shown  both 
in  his  Clown  and  the  Portrait  of  a  Child,  but  in  these 
the  sitters  were  only  given  due  prominence  at  the  cost 


54 


Current    Art   Notes 


of  some  crudity  and  exaggeration  in  the  tlesli- tones, 
which  in  Mr.  Connard:s  works  too  frequently  have  the 
appearance  of  being  realised  in  patches  of  red  and  white 
brought  into  tone  with  lamp-black.  In  the  portrait  of 
Mr.  Alexander  he  had  entirely  avoided  this;  the  flesh- 
tones  were  set  down  in  full  purity,  the  numerous  objects 
contained  in  the  corner  of  the  room  where  he  was  seated 
were  realised  with  absolute  local  truth,  and  the  picture 
attained  that  feeling  of  minute  completeness  which 
characterises  the  work  of  the  Dutch  seventeenth-century 
masters  in  genre.  .Mr.  F.  C.  15.  Cadell's  Poet  showed 
good  quality  in  much  of  the  colour,  but  the  work  was  too 
sketchy  for  the  scale  on  which  it  was  executed.  A  half- 
length  entitled  Mallows,  by  Mrs.  Laura  Knight,  gave 
an  attractive  portrait  of  a  pretty  girl  standing  in  full 
sunlight.  Mr.  John  Lavery's  Maria  Carmi  was  merely 
an  impression,  boldly  handled  and  well  characterised, 
but  still  a  sketch  rather  than  a  work  carried  to  full  com- 
pletion ;  his  Lord  Edward  Grosvenor  was  hardly  carried 
further,  and  lacked  much  of  the  charm  of  the  other  owing 
to  the  brush-work  being  less  spontaneous  in  feeling  and 
less  explicit.  A  Portrait  Fantasy  by  Miss  Inez  Adam 
was  original  and  characterised  by  good  colour,  and  the 
latter  quality,  in  a  greater  degree,  was  the  crowning 
merit  of  Mr.  Augustus  John's  portrait  of  Miss  Iris  Tree. 
This  picture  showed  enough  of  Mr.  John's  former 
mastery  to  make  one  wish  that  he  would  cease  produc- 
ing eccentricities  and  again  do  justice  to  his  undeniable 
talent.  The  drawing,  if  summary,  was  true  as  far  as  it 
went,  and  the  colour-scheme — in  green,  brown,  and  white 
— both  original  and  fascinating.  Though  it  was  not  a 
great  picture,  it  had  the  makings  of  one.  There  were 
attractive  and  animated  portraits  of  Miss  A".  Mayer,  by 
Mr.  W.  Russell,  and  Miss  Katherine  Robb,  by  Mr. 
Oswald  Birley.  Mr.  P.  A.  de  Laszlo  had  several  exam- 
ples in  the  style  which  he  appears  to  have  made  his 
own,  the  head  of  the  sitter,  with  sufficient  background  to 
fully  separate  it  from  the  canvas,  only  being  realised,  and 
the  remainder  of  the  work  more  or  less  left  blank.  This 
style  lends  itself  to  Mr.  Laszlo's  fluent  brush-work,  and 
he  adapted  it  with  considerable  success  to  his  portraits  of 
Sir  Philip  Sassoon  and  the  Dowager  Lady  Leconfield. 
Its  disadvantage  is  that  it  does  not  allow  for  the  fullest 
expression  of  art.  In  the  present-day  fashion  for  swift, 
fluent,  and  spontaneous  expression,  we  forget  that,  though 
brevity  may  be  the  soul  of  wit,  it  is  not  necessarily  the 
proof  of  the  possession  of  great  knowledge.  A  clever 
man  may  condense  his  ideas  on  a  subject  into  a  ten 
minutes'  speech,  but  if  he  has  nothing  left  unsaid  he  cannot 
be  well  informed.  It  is  the  same  in  art  ;  much  of  the 
modern  impressionistic  work  is  highly  clever,  but  one  often 
wonders  whether  many  of  the  painters  who  produce  it 
with  such  facility  could  carry  it  further  without  revealing 
weaknesses,  which  would  show  them  to  be  mil  master 
craftsmen,  but  merely  gifted  amateurs.  These  remarks 
do  not,  of  course,  apply  to  Mr.  Laszlo,  who  is  undoubted- 
ly one  of  our  most  competent  and  attractive  portrait 
painters  ;  yet  one  must  deem  his  example  bad,  as  likelj 
tn  bung  into  vogue  a  style  of  ait  which  will  effectually 
help  a   faulty  executant   to  conceal    his   shortcomings, 


The  Royal 
Society  of 
British  Artists 


FEWER  and  more  interesting  pictures  were  the  order 
of  the  day  at  the  143rd  exhibition  of  the  Royal  Society  of 
British  Artists  (Suffolk  Street).  The 
entrance  wall  of  the  central  gallery 
was  rather  unduly  monopolised  by  Mr. 
Fred  F.  Foottet's  large  landscape  in 
crimson.  Three  bare  tree-trunks  were  boldly  silhouetted 
against  what  appeared  to  be  a  universal  conflagration. 
Out  of  such  ingredients  Mr.  Foottet  had  produced  a 
work  which  attracted  the  eye  without  delighting  it.  The 
other  works  about  were  overpowered  by  the  hot  mass  of 
colour,  and  Mr.  L.  ( '.ricr's  truthful  and  quiet-toned  Rei 
Harbour,  which  hung  immediately  beneath,  was  made  to 
appear  unduly  blue.  Of  the  two  black-backgrounded 
figure  subjects  by  Mr.  Francis  E.  Hodge,  The  Repartee 
was  the  more  effective,  by  reason  of  the  scarlet  bodice 
of  the  subject,  which  told  up  well  against  its  setting.  The 
backgrounds,  however,  were  a  mistake  :  they  gave  an 
artificial  appearance  to  the  pictures,  the  crisp  brush-work 
and  good  colour  of  which  needed  no  such  adventitious 
aid.  Mr.  Alec  Carruthers  Could  was  not  seen  to  advan- 
tage in  /'//.'  Thanhs  at  Richmond ;  it  was  not  strong,  but 
merely  a  crude  and  unfinished  piece  of  work.  Much 
better  was  his  Constable-like  drawing.  The  Old  Weir  at 
Punster,  Somerset.  There  was  less  sparkle  about  the 
high  lights  than  Constable  would  have  realised,  yet  in  its 
sincerity  and  unforced  strength  of  tone  and  colour  it  was 
not  unworthy  of  him.  Mr.  Christopher  Williams's  por- 
trait of  the  Chancellor  0/  the  Exchequer  was  dignified  and 
forceful,  though  the  handling  was  heavy  and  uninspired. 
Other  portraits  included  Mrs.  /ordain,  by  Mr.  R.  ('.. 
Eaves,  which  held  its  own  against  any  similar  work  in 
the  exhibition.  The  sitter  was  well  posed  and  pleasing  1\ 
characterised,  the  flesh-tones  true,  and  her  dress  and  the 
accessories  painted  with  sufficient  detail  to  make  them 
interesting  without  being  obtrusive.  Another  pleasing 
work  was  Miss  Dorothy  Pay,  by  Mr.  J.  J.  Alsop  ;  and  the 
Tamaraoi  Mr.  Frederick  Whiting  was  somewhat  over- 
powered by  the  strength  of  its  background,  the  deep 
blues  constituting  the  latter  appearing  to  demand  more 
carnations  in  the  flesh-tones  to  keep  them  in  their  place. 
The  work,  if  not  quite  a  success,  was  a  step  in  the  right 
direction,  and  far  more  interesting  than  many  of  the 
portraits  which  reach  their  goals  along  orthodox  paths 
of  conventionality.  The  effect  of  the  well-characterised 
head  of  The  Right  Reverend  C.  II.  dill.  Bishop  of  Travan- 
,ete  and  Cochin,  was  somewhat  marred  by  the  aggressive 
cleanliness  of  the  whites  in  the  sitter's  surplice  ;  while 
Mr.  Stephen  Reid  saw  too  much  detail  when  painting  his 
portrait  of  John  Kerr,  Esq.  One  would  say  this  was  pro 
bably  an  admirable  likeness,  absolutely  sincere  and  un- 
fettered, but  broader  treatment  would  have  enhanced  it-~ 
pictorial  qualities.  Going  back  again  to  orthodox  pictures 
as  distinguished  from  portraits,  one  may  congratulate  Mr. 
Hal  Hurst  on  having  made  a  marked  advance  in  his 
picture' ni  the  Xbsent  One.  The  theme  was  sentimental, 
a  girl  probably  a  governess— leaning  in  a  hope  1 
reverie  against  a  large  globe,  unheedful  of  the  lettei  I 
at  her  feet;  but  Mr.  Hurst  had  not  depended  upon  the 
sentiment  of  the  picture  for  its  attraction.      The  work  was 


The    Connoisseur 


soundly  painted,  and  its  lighting,  colour,  and  arrangement 
were  all  well  managed.  Another  interior  scene  was  Mr. 
W.  M.  Palin's  Improvisante,  in  which  a  girl  was  per- 
forming in  a  high-galleried  room  before  a  circle  of  her 
friends.  The  figures  were  well  drawn  and  well  grouped": 
the  colouring,  somewhat 
over-grey  in  tone,  was 
nevertheless  pleasing; 
only  a  lack  of  interest  in 
the  upper  part  of  the  pic- 
ture marred  an  otherwise 
successful  work.  Good 
colour  was  shown  in  the 
three  smaller  contribu- 
tions of  Mr.  J.  H.  Amsche- 
witz,  and  also  in  his  Aged 
Worldling.  The  latter, 
an  elaborate  and  highly 
finished  work,  would  have 
gained  had  the  artist  left 
it  more  simple.  Mr.  John 
Muirhead's  Thames  at 
Greenwich  gave  a  pleas- 
ing represent  at  i  on  of  a 
well-known  theme,  the 
bright  sunlight  on  the 
water  forming  an  effec- 
tive contrast  against  the 
dark  forms  of  barges  in 
the  foreground.  Another  picture  in  which  sunshine  was 
used  with  effect  was  Mr.  A.  St.  John  McColl's  Golden 
Autumn,  Brittany,  which  showed  an  array  of  brightly 
arrayed  fruit-stalls  backed  by  an  expanse  of  sun-gilded 
autumnal  foliage.  The  picture,  without  being  aggres- 
sive, glowed  with  colour.  Mr.  Charles  \V.  Simpson's 
pictures  of  bird-life,  despite  the  naturalism  of  their  out- 
look, attained  distinction  by  a  certain  Japanese  quality 
in  their  arrangement.  While  sufficiently  true  to  life  to 
please  a  naturalist,  they  also  formed  highly  decorative 
pieces  of  work,  well  balanced,  and  simple  and  reposeful 
in  colour  and  feeling.  Among  the  landscapes  may  be 
mentioned  The  Deer  Park,  Sussex,  by  Mr.  W.  Westley 
Manning,  well  painted  but  a  little  monotonous  in  colour  ; 
Mr.  Murray  Urquhart's  fresh  Autumn  Breezes;  Mr.  D. 
Murray  Smith's  sweet-toned  Near  Caerphilly,  S.  Wales  : 
Mr.  Tatton  Winter's  Long  Coppice  and  the  Hill  on  the 
Dunes,  Staples,  t  higinal  composition  was  shown  in  the 
Hill  of  the  Quarries,  by  Mr.  Harry  W.  Adams,  where  a 
line  of  tall  poplars  were  shown  soaring  skywards,  backed 
by  a  ridge  of  hills  culminating  in  a  steep  sun-flooded 
blurt".  The  picture  glowed  with  refulgent  colour;  it  was 
finely  harmonised,  reposeful  in  feeling,  and  attained  the 
distinction  of  being  one  of  the  most  completely  satisfying 
works  in  the  exhibition. 


PLATE     BY     MESSRS.    WEDGWOOD,     NJNSTAL] 


THE  second  exhibition  of  the   London  Group,  at  the 
Goupil  Gallery    5,  Regent  Street  ,  was  in- 
teresting as  a  psychological  phenomena. 
Moreover,   it  was   highly  educational. 
Such  a  display  was  essential  to  complete  the  chastening 


The  London 
Group 


of  our  pride  in  twentieth-century  civilisation.  The  war 
has  shown  that  its  possession  does  not  necessarily  endow 
the  man  of  "  Kultur  "  with  higher  moral  sensibilities  than 
the  barbarian  ;  while  the  works  of  Mr.  Jacob  Epstein  and 
others  of  the  London  Group  revealed  that  the  aesthetic 

tendencies  of  the  most 
■advanced  school  of 
modern  art  are  leading 
us  back  to  the  primitive 
instincts  of  the  savage 
and  of  the  young  child 
whose  education  is  still 
to  be  commenced.  It  is 
best  to  speak  frankly 
about  these  productions, 
because  they  have  at- 
tracted an  amount  of  in- 
terest altogether  out  of 
proportion  to  their  in- 
trinsic merits.  As  works 
of  art  the  majority  of 
them  were  too  foolish 
even  to  provoke  laughter. 
They  had  neither  origi- 
nality of  conception  not- 
able craftsmanship  to 
commend  them  ;  and  yet 
that  they  had  been  pro- 
duced in  all  seriousness, 
and  accepted  in  the  same  spirit  by  a  large  number  of 
intelligent  people,  who  professed  both  to  admire  and 
understand  them,  need  astonish  no  one  who  has  studied 
social  history. 

The  relaxation  of  orthodox  intellectual  standards  in 
favour  of  anything  that  is  strange,  marvellous,  or  esoteric- 
occurs  in  all  communities,  whether  civilised  or  barbarian. 
Thus  the  belief  in  mascots,  prevalent  in  modern  society, 
is  only  a  more  polite  form  of  the  fetish-worship  of  the 
West  African  native.  Both  equally  arise  from  the  revolt 
of  the  uncultivated  imagination  against  the  dominion  of 
the  intellect.  One  finds  the  most  pronounced  examples 
of  this  among  young  children.  Their  fancies  are  less 
trammelled  by  the  intellect  than  those  of  grown-up  people, 
hence  they  not  infrequently  dominate  the  mind  more 
strongly  than  the  realities  of  life.  Thus  a  formless  toy 
becomes  often  endowed  with  imaginary  attributes  which 
render  it  an  object  of  ardent  affection.  One  does  not 
find  the  same  wealth  of  affection  lavished  on  a  more 
elaborate  toy,  because  the  greater  definition  of  form  in 
the  latter  allows  less  scope  for  the  uncultivated  imagi- 
nation. Thus  a  rag  doll  can  be  made  to  personify  any 
character,  whereas  a  well-modelled  lead  soldier  can 
only  be  a  soldier,  and  makes  no  appeal  to  a  child 
wholly  ignorant  of  military  matters.  As  with  children, 
so  with  adults.  The  uncultivated  imagination  requires 
a  more  primitive  form  of  art  to  stimulate  it  than  the  cul- 
tured imagination.  An  aborigine,  to  whom  the  Venus 
of  Milo  or  Leonardo's  Last  Supper  would  make  no 
appeal,  might  be  moved  to  ecstasy  at  the  sight  of  a 
barber's  pole  ;  its  simple  yet  symmetrical  shape,  its  gaudy 


56 


^'#^: 


i 


PORTRAIT    OF    LADY    SKIPWITH 

BY     SIR     JOSHUA     REYNOLDS,      I'.R.A. 
In  the  H.  C.  Frick  Collection 


^,       -I 

.^^H 

wtX  '^^B 

^jj^ 

\1 

v.            I 

a 


Curren t   Art   A 'otes 


coloration,  and  its  unlikeness  to  any  natural  object, 
appearing  to  him  as  something  at  once  attractive  and 
mysterious  ;  destitute  in  themselves  of  any  significance. 
yet  capable  of  bearing  any  interpretation  he  may  choose 
to  apply  to  them. 

These  elementary  .esthetic  fancies  of  the  young  child 
and  the  primitive  savage  are  not  wholly  dead  in  the 
breast  of  the  civilised  adult,  and  Mr.  Jacob  Epstein  and 
his  colleagues  boldly  catered  for  them.  It  was  not  a 
difficult  task.  All  that  was  necessary  was  to  substitute 
a  crude  naivete  for  artistic  feeling  and  craftsmanship,  and 
to  make  creations  which  could  be  fully  comprehended 
without  tasking  either  the  imagination  or  the  intellect. 
These  ends  were  attained  by  Mr.  Epstein  by  invest- 
ing his  sculpture  with  only  the  faintest  suggestion  of  a 
meaning.  The  titles  in  the  catalogue  conveyed  far  more 
of  his  intention  than  his  chisel.  His  work  was  merely 
a  peg  upon  which  the  spectators  might  hang  their  own 
fancies.  The  most  elementary  manifestation  of  it  was  in 
the  group  of  the  Mother  and  Child.  This  was  composed 
of  a  rudely  shaped  ovai  spheroid,  representing  the  head 
of  the  mother,  and  a  smaller  circular  one  which  stood  for 
that  of  the  child.  Their  features  were  suggested  by  a 
few  crude  markings.  Mr.  Epstein's  admirers  might  cite 
this  as  an  example  of  extreme  synthesis,  but  the  term 
would  not  be  justified.  Synthesis  means  a  building  up 
of  the  general  from  the  particular ;  but  here  there  had 
been  no  building  up.  At  its  best  the  work  could  only  be 
regarded  as  an  elementary  and  easily  understood  symbol. 
It  was  an  affectation  to  perpetrate  it  in  marble.  A  South 
Sea  islander  would  have  more  fully  conveyed  the  same 
idea  with  a  couple  of  cocoa-nuts  ;  an  English  nurse-girl 
by  padding  out  some  pieces  of  calico  with  rags.  Mr. 
Epstein's  mannikin,  entitled  Cursed  be  the  Day  wherein  I 
:,\m  born,  was  better  in  this  respect.  It  was  fashioned 
in  wood,  the  upper  portion  of  the  structure  coloured 
red,  and  the  two  straight  pieces  of  wood,  which  did  duty 
for  legs,  in  grey.  The  figure  suggested  a  little  boy 
in  stockings  vociferously  protesting  against  having  the 
remainder  of  his  raiment   put   on. 

Mr.  Epstein's  productions  had  at  least  the  merit  of  re- 
motely suggesting  the  forms,  if  not  the  ideas,  he  intended 
to  convey.      So  much  could  not  be  urged  in   favour  of 
the  paintings  either  of  Mr.  Edward  Wadsworth  01    Mr. 
Wyndham  Lewis.      One  by  the  former  was  an   arrange 
inent  of  diagonal  bars  of  paint     black,  white,  red,  blue, 
and   yellow — arranged    in    parallels,    and    as   neatly    set 
out    .is  if  executed  with  the  aid  of  a  rule  and  a  p 
compasses.      The  artist  called  it   Blackpool.      The  only 
thing  it  remotely  suggested  was  an  1 
pole.      The   Crowd,  bj    Mr.  Wyndham   Lewis,  appeared 
to  be  a  ground-plan  of  innumerable  series  of  cells  without 
It   was  drawn  with  geometrical  accuracy  and 
neatly  coloured,  and   might   have  passed  for  a  plan  exc- 
cuted  by  some   erratic    architect's   draughtsman.       1  >ne 
might  examine  in   detail  the  other  works  shown   in   the 
exhibition,  but  the  task  would  be  repaid  by  tl 
i>l    little    shown  nation,  art,  ernment,  or 

efficient  craftsmanship.      Some  of  the  members  essayed 
an   obvious   and    rather    brutal    realism:   oth( 


impressionistic  colour  arrangements,  in  which  harmony 
had  been  attained  at  the  cost  of  truth:  while  the  majority 
were  content  to  be  merely  eccentric. 

TO  write  a  review  of  the  exhibition  of  the  Royal  Insti- 
ll  Painters  in  Water-Colours  is  always  a  formidable 
task  to  the  critic.     There  is  probabl) 
The  Royal  no  display  in  the  country  at   which  the 

"s  '  u       ,  works  show  a  more   consistent  avei 

Painters  in  ,.  .,.,  .    , 

„   ,  iiu.ihtv.       I  he   ma  1  or  it  v  ot  them   are 

Water-Colours       '  '  ,         , 

lullv   worthy  of  review,   and    but    few 

single  themselves  out  as  worthy  of  higher  commend. 1 
than  their  companions.  Thus  the  critic  is  reduced  to 
making  arbitrary  choice  perforce,  the  exigencies  of  space 
compelling  him  to  pass  over  much  that  he  would  other- 
like to  mention.  The  106th  exhibition  of  the 
Society  Piccadilly  appeared  to  be  practically  unaffected 
by  the  war,  showing  no  falling  oft"  from  its  immediate 
predecessors.  In  the  first  gallery  Mr.  Fred  Rues 
From  Love  to  Duty — another  of  his  representations 
of  Nelson  and  Lady  Hamilton — struck  one  as  being 
unfortunately  hung,  it  being  isolated  in  the  midst  oi 
a  group  of  small  pictures,  the  more  minute  execution 
of  which  adversely  affected  its  appearance.  The  picture 
was  marked  by  an  advance  in  colour  quality  on  any  of 
his  previous  work,  and  only  just  failed  attaining  high 
harmonic  excellence.  The  dominant  notes  in  the  back- 
ground and  middle  distance  were  blue,  white,  and  green ; 
the  latter  being  afforded  by  the  foliage  of  the  garden, 
white  serving  as  an  environment  of  the  figures,  and 
the  blue  of  the  sky  and  the  white  of  the  profusion  of 
fruit  blossoms  being  repeated  in  the  blue  and  white  of 
Nelson's  uniform.  In  the  foreground  a  contrasting  note 
was  afforded  by  the  yellow  of  Lady  Hamilton's  gown. 
who  was  reclining  on  a  dark  grey  cloak  laid  on  the  grass. 
The  grey  of  the  cloak  appeared  the  one  jarring  element 
in  the  work;  it  tended  to  isolate  the  figure  of  Lady 
Hamilton  from  the  rest  of  the  composition,  and  served 
no  good  purpose.  Mr.  T.  C.  Gotch  had  a  well-painted 
single  figure  picture  entitled  '/'he  Listener,  good  in  tone 
and  colour  but  a  little  wanting  in  interest.  Mi.  W.  B. 
Woollen's  Retreat  from  Mom  «,h  .1  spirited  rendering  of 

the   charge  of  the   v in  that   battle.     Another 

wai  like  subject  was  depicted    in   Mr.   Norman  Wilkin- 
French  Battleships,  the  ungainly  massiveness  of  the 
marine   monsters,  far  heavier   in    their   appearance   than 
their  English  prototype  well  conveyed.   Sir  James 

D.  Linton's  highly  finished  art  was  seen  t.>  advantage  in 
his  Message  St.  Valentine's  Day,  and  his  larger  compo- 
sition, Only  a  Scrap  of  Paper.    The  lattei  had  noth 

h  the  Belgian  treaty,  Inn  represented  a  couple  ol 
g  to  some  1  In  1st;. in  in.' 
1st   the   infringement  of  a  treat)  they  were  holding 
up    to    him.      The   attitudes   of  the    figures   were    natural 
and   1  :1   "ell   arranged,  and   the 

draperies  and    .   ea  painted  with  all 

hip    ami     deft     realisation     ot 
textures    which  >:k   of   tin 

Mr.  Frank  Spenlovi  -   Watching  and  Waiting 

shovvi  m  fishermen's 


59 


The   Connoisseu 


watching  over  a  rough  sea  for  the  return  of  their  hus- 
bands. The  scene  was  impressively  realised  in  sombre. 
]«>w -toned  colours,  to  which  the  white  caps  of  the  women 
afforded  a  contrasting"  note.  Another  coast  scene,  but 
one  of  a  more  cheerful  character,  was  Mr.  G.  Hillyard 
Swinstead's  rendering  of  waves  breaking  in  bright  sun- 
shine on  Splash  Point,  Seaford.  The  transparent  colours 
of  the  water,  the  whiteness  of  the  sun-transfused  foam  and 
chalk  cliffs  against  the  blue  sky,  all  helped  to  make  a 
pleasing  and  effective  picture.  Miss  D.  \V.  Hawksley's 
Daughter  of  [aims  was  a  presentment  of  a  well-worn 
theme  in  an  entirely  novel  setting.  The  figures  and  their 
environment  appeared  to  be  more  Chinese  than  Jewish. 
but  whatever  their  archaeological  correctness,  Mis^  Hawks- 
ley  had  succeeded  in  combining  them  into  a  quaint, 
original,  and  interesting  composition,  marked  by  a  fine 
feeling  for  colour.  A  carefully  painted  drawing  of  Still 
Life  was  by  Miss  Dorothy  Smirke.  Mr.  Percy  Dixon's 
Passing  Showers  and  Mr.  |.  Shaw  Crompton's  New 
Tenant  both  deserved  mention  ;  as  did  Mr.  Yeend  King's 
fresh-cole  Hired  Mill  mi  the  Coast  of  the  Isle  of  Man  and 
his  crisply  handled  )  'outh  and  Spring.  A  completely 
new  departure  was  made  by  Mr.  Wynne  Apperley  in  his 
Playmates  and  Pan  in  Ambush,  the  broad  realism  of  his 
usual  manner  giving  place  to  a  highly  elaborated  tech- 
nique somewhat  reminiscent  of  the  Florentine  fifteenth- 
century  school.  The  venture  was  to  be  welcomed  as 
helping  to  reinstate  in  modern  art  a  style  ot  work  which 
demands  searching  and  exact  draughtsmanship,  highly 
finished  execution,  and  is  imbued  with  romantic  feeling. 
In  both  pictures  Mr.  Apperley  had  succeeded  in  estab- 
lishing that  illusion  of  reality  which  is  more  precious 
than  reality  itself.  He  admitted  us  to  the  land  of 
romance  ;  its  beauties  were  pictured  with  a  minute  care 
which  elaborated  every  detail.  The  Playmates  was 
perhaps  the  more  attractive  of  the  two  drawings,  the 
figures  in  it  being  larger,  and  so  better  proportioned 
to  the  size  of  the  work.  In  both  subjects,  however,  the 
artist  had  achieved  a  striking  success.  Despite  the 
jewelled  elaboration  of  his  colour,  he  had  succeeded  in 
preserving  the  unity  of  his  conceptions.  The  colour  was 
finely  harmonised  and  the  draughtsmanship  searching 
ami   exact. 

Mr.  William   Wai.cot  is  showing  a  collection  of  his 
works  in  Edinburgh  just  now,  at  Messrs.   Doig,  Wilson 
and    Wheatley's  ;    and    the    Royal 


Edinburgh  :  The 
Diploma  Gallery 


Scottish  Academy,  determined  not 
to  be  les-,  charitable  than  any 
analogous  institutions,  have  organised,  at  their  own 
Diploma  Gallery,  an  exhibition  on  behalf  of  needy  Bel- 
gian artists.  Mr.  Walcot's  productions  consist  entirely 
of  water-colours  and  etchings,  and  they  are  pleasant  and 
interesting,  not,  perhaps,  because  they  are  of  a  really 
high  order,  but  inasmuch  as  they  reflect  distinct  develop- 
ment on  the  part  of  an  artist  of  individual  outlook.  For 
his  paintings,  contrasted  with  those  he  has  shown  in  the 
past,  manifest  that  his  colour- sense  is  becoming  more 
searching  and  more  subtle  ;  while  studying  his  etching-., 
these   reveal   a   greater  confidence   in    himself  than    he 


has  usually  evinced  heretofore,  his  draughtsmanship  in 
several  instances  having  a  new  semblance  of  spontaneity, 
a  new  freedom.  In  no  case,  however,  is  he  unduh 
free  ;  and  indeed  many  of  his  prints  appeal  chiefly  by 
their  precision,  always  rather  an  engaging  quality  in 
etching. 

In  their  anxiety  to  make  their  project  a  success,  the 
Academicians  have  wisely  invited  Scottish  artists  in 
general  to  co-operate  with  them.  Nor  has  this  request 
been  made  in  vain,  a  large  number  of  painters  and 
sculptors  having  come  forward,  each  presenting  one  or 
more  works  ;  and  these  are  to  be  distributed  ultimately 
in  the  manner  of  a  raffle,  the  price  of  a  ticket  therefor 
being  five  guineas.  The  whole  idea  is  a  good  one  ;  the 
demand  for  tickets  has  proved  abundant,  and  the  gallery 
is  daily  attracting  a  phenomenal  number  of  visitors ;  while 
if  the  writer  is  forced  to  admit — despite  the  patent  de- 
sirability of  eschewing  harsh  criticism  in  a  case  like  this 
— that  the  generality  of  things  on  the  walls  is  only 
mediocre,  a  few  of  them  are  quite  the  reverse,  a  few- 
do  ample  justice  to  their  respective  artists.  Mr.  Eric 
Robertson,  who  usually  paints  figure-studies  or  land- 
scapes, has  broken  new  ground  with  an  essay  in  still-life; 
and  it  shows,  certainly,  that  he  has  a  genuine  gift  for  that 
field  of  art,  so  perennially  fascinating  to  painters  them- 
selves, albeit  so  unpopular  with  the  laity.  Mr.  Patrick 
Adam  exhibits  a  pleasing  interior,  remarkable,  as  this 
artist's  work  generally  is,  for  its  able  and  convincing 
suggestion  of  light ;  while  Mr.  Louis  Ginnett's  Reverie. 
a  study  of  a  girl  seated  in  an  arm-chair,  claims  notice  by 
reason  of  good  design,  although  the  modelling  of  the 
girl's  arms  leaves  much  to  be  desired.  Almost  flawless 
in  its  own  slight  way,  on  the  other  hand,  is  a  little  flower- 
piece  by  Mr.  Edwin  Alexander  ;  and  a  touch  as  delicate 
as  his  is  embodied  in  Miss  Cecile  Walton's  Fantasy,  yet 
another  thing  of  considerable  charm  being  Miss  Meg 
Wright's  Cosy  Corner.  The  subject  is  a  fox-terrier, 
sound  asleep ;  and  all  is  figured  with  an  exceptional 
sympathy,  which  would  have  appealed  to  Crawhall  him- 
self, that  arch-master  of  dog-painting. 

Landscapes  predominate  in  the  gallery,  and  among 
them  are  good  canvases  by  Messrs.  Wilson  Cowan  and 
W.  V.  MacGregor,  James  Hector,  Herbert  Gunn,  and 
George  Houston  ;  while  a  Tangier  scene,  the  work  of 
Mr.  John  Lavery,  evokes  regret  that  he,  nowadays, 
virtually  confines  himself  to  portraiture.  An  Italian 
picture  by  Mr.  John  Duncan,  again,  enshrines  really  (inl- 
and strong  handling  of  the  eternal  beauty  of  chiaros- 
curo ;  and  Mr.  W.  B.  Hole  shows  a  landscape  which  is 
quite  surprising,  so  far  ahead  is  it  of  his  familiar  etchings 
and  mural  paintings.  Here,  in  addition  to  rich  and  deep 
colours,  happily  blended,  is  a  vivid  reincarnation  of  a 
fleeting  and  romantic  mood  of  nature. 

But  there  is  one  picture  at  the  exhibition  which  easily 
transcends  all  the  others,  one  which  no  Edinburgh 
people,  caring  seriously  for  painting,  should  fail  to  go 
and  see  ;  and  this  comes  from  the  brush  of  Sir  James 
Guthrie,  whose  topic  is  a  young  girl,  dressed  in  black, 
her  shoulder  garnished  daintily  with  a  pink  flower,  a  fan 
in   her  hand,  and   behind   her  a  brownish   wall.      It  is  an 


do 


(  urn- tit    Art   Notes 


early  canvas,  presumably,   being  wrought  in  that  fairlj 

elliptical  style  which,  foreign  to  his  output  of  to-day. 
Sir  James  was  wont  to  practise  fifteen  or  twenty  years 
ago,  at  which  time  he  was  something  of  a  disciple  of 
the  French  Impressionists.  And  he  himself,  no  doubt, 
would  call  his  work  only  a  sketch ;  while  some  may 
criticise  its  drawing,  some  may  cavil  to  the  effect  that  the 
actual  sense  of  life  is  slight.  Vet  is  there  not,  in  certain 
sketches,  a  charm  which  finished  paintings  are  prone  to 
lack?  And  among  these  sketches  is  the  present  one; 
while  none,  surely,  will  be  found  to  deny  the  inherent 
beauty  of  each  separate  note  of  colour,  or  the  exquisite- 
ness  of  the  harmony  evolved  from  them.  Fortunate,  in 
truth,  will  be  the  person  who  acquires  so  delightful,  so 
essentially  decorative  a  work  for  no  more  than  five 
guineas.  But  one  must  refrain  from  mentioning  financial 
matters  on  an  occasion  like  this,  for,  though  main-  rich 
collectors  are  apt  to  forget  it,  a  fine  picture,  like  a  tine 
poem  or  piece  of  music,  is  not  a  thing  to  be  appraised  in 
figures. 


of  allegorical   meaning    is   suggested   in   the   figures  ami 
objects  which  go  to  form  the  patterning.     The  sun 
the  centre,  and  around  it  are  grouped  figures  einbleinat u 
of  i\\e  of  the  seven  senses.     Sight  i  ted  by  the 

graceful  maiden,  bearing  a  lamp  ;  smell,  by  anothei 
holding  a  rose  to  her  nostrils;  a  third,  whose  m 
enclasped  by  the  arms  of  a  winged  cupid,  personifie 
touch.  To  represent  taste  a  male  figure  is  introduced, 
a  mediaeval  cellarer,  draining  a  glass  <>!  wine;  while  the 
quintette  is  completed  by  the  huntsman,  blowing  a  horn, 
who  represents  hearing.  Together  with  these  leading 
figures  are  introduced  a  number  of  other  objects,  flowers, 
birds,  and  animals,  which  all  help  to  heighten  and  amplify 
the  allegorical  significance  of  the  patterning.  This 
design,  though  it  might  be  matched  by  other--  for  various 
materials,  may  be  taken  as  worthil)  representing  the 
finished  elaboration  of  Walter  Crane's  style  and  his 
sedulous  care  to  make  his  art  complete  in  little  things 
.1-  well  as  in  great. 


The  death  of  Mr.  Walter  Crane  on  Sunday,    March 
14th,   deprived   English  art  of  one  of  its  most  gifted  and 


The  late 
Walter  Crane 


versatile  exponents.      He  was  born  in 
Liverpool  on   August    15th,    1845,    but 


had  little  connection  otherwise  with  the 
great    northern    city,    his  father,  when   the   bo\    was  still 
young,    migrating    first    to    Torquay   and    afterwards    to 
London.      From  him  Walter  Crane  learnt  the  rudiments 
of  ait,  and  showed  such  decided  talent  that  W.  J.  Linton, 
the  well-known  wood  engraver,  took  him  as  apprentice 
without    the    payment    of  the    usual    premium.        Crane- 
probably  imbibed  his  socialistic  opinions  from  his  master. 
an   ardent   ad\ocate  of  political   freedom.     He   essayed 
painting   as  well   as  drawing  and    engraving,    and   when 
in  his  seventeenth  year  had  his  first  work  hung   in  the 
Royal  Academy,  a  picture  of  The  Lady  of  Shalott.      His 
early  successes,  however,  were  won  as  a  book  illustrator, 
and  it  was  not  until  the  establishment  of  tin-  first  Gros- 
venor  Gallery  that  Crane  achieved   fame  as  a  painter. 
In    this   institution  he  exhibited    many  of  his   principal 
works,   including  The  Renascence  of  Venus  and  the  Fa/e 
of  Persephone,   pictures   that  did   much  to  establish  his 
reputation.      All    his    pictorial    work    was    marked    by    a 
noble  idealism  and  an  instinctive  decorative  feeling.      In 
[879   he    joined    the    Science    and    Art    Department    at 
South    Kensington,  and  was  appointed  as  art   examiner. 
Probably  few  men  were  better  fitted  for  the    position,   for 
( 'rane,  besides  being  an  able  painter  and  book  illustrator, 
showed   himself  a   master  in   nearly  every  department   of 
decorative  art.      Some  of  his  designs  foi   tapestrj   were 
executed  by  William  Morris,  and  proved  to  be  among  the 
most  successful  products  of  the  latter's  loom.      He    <    0 
designed  patterns  for  textile  fabrii  5,  deftl)  adapting  high 
artistic   principles  to  the  practical    requirements  of  the 
manufacturer.     A  characteristii    essay  in  this  directioi 
is  the  design  for  the  table  1  loth  reprodui  ed,  which  illus- 
trates both  the  romantic  feeling  of  Ins  art  and  his  ability 
to   make   it    subserve  the  end     of  industry.     A   wealth 


Artistic 
Table-ware 


1  INK  of  the  highest  signs  of  culture  is  when  the  USi  fu 
objects  of  life — those  which  the  owner  has  to  see  and 
handle  everyday  —  are  executed  with  the 
same  careful  craftsmanship  and  regard 
to  art  as  objei  ts  which  are  intended 
purely  for  ornament.  The  former  are  ^n  essential  pari 
of  life,  the  latter  merely  an  adjunct.  One  may  thus 
welcome  the  increased  efforts  of  the  Staffordshire  potters 
to  evolve  more  beautiful  household  utensils.  Among  the 
firms  who  are  achieving  success  in  this  direction  are 
Messrs.  Wedgwood  Ov.  Co.,  of  Tunstall,  and  the  Soho 
Pottery  Co.,  of  Cobridge,  who  are  at  present  largel; 
specialising  in  table-ware.  In  this  branch  of  ceramii 
art  English  makes  have  always  maintained  a  leading 
position  since  the  eighteenth  century.  The  nineteenth 
century  was  marked  1>\  an  even  higher  technical  per- 
fection   of  their   wares,    though    the   form    and    patterning 

of  the  latter  perhaps  rather  dete ated.      The  present 

idea  is  tn  follow   on  the   traditions  of  the  beautiful  old 

patternings  and  designs  and  apply  them  to  the  su] 1 

modern  wares.  In  this  both  linns  have  been  especially 
1  jsful.  Their  porcelain,  in  its  translucencj .  e\  enness 
of  surface,  and  perfe  tion  of  finish,  rivals  the  best  that 
has  been  produced;  and  the  designs  with  which  it  is 
ornamented,  some  borrowed  from  formei  great  makers, 
and  others  which  are  quite  new.  are  invariablj   at 

and  tasteful.  A  feature  of  the  work  is  the  high  quality 
(liits  coloration,  the  tints  used  surviving  tin  ordi  il  of 
the  firing  with  undimmed  purity  and  lustre. 


A 1    Leigh,    in  Surrey,   is  a  charming  specimen  ol  .11. 

i        ish  country-house,  which  ha    been  constructed  from 

the  mi   1  11    hi  two  old  cottages  built 
Tudor   House,  n    |(i_,    anrf   dem<)|     |i(.(, 

e«g    t      urrey  ^^    ^    ^   ^   material    be  n  :    pre 

served  ami  used  in  the-  present  building.  The  house 
s  furnished  in  keeping  with  its  character,  ami  contains 
.1  quantity  of  antique  furniture,   pewter,   et<    .  whilst  the 


01 


The    Connoisseur 


DESIGN     FOR     A     TABLE-CLOTH 


BY     THE     LATE     WALTER     CRANK 


beautiful  old-world  gardens  cost  no  less  than  ,£1,500  to 
lay  out.  The  total  area  of  the  estate,  which  includes  a 
small  farm,  is  about  five  acres.  Messrs.  Harrods,  Ltd., 
tn  whom  this  beautiful  residence  has  been  entrusted  for 
freehold  sale,  state  that  it  can  be  viewed  at  any  time  by 
appointment. 

A  WELL-ILLUSTRATED  catalogue  of  modern  furniture  is 
sent  by  Messrs.  Williamson  &  Cole,  Ltd.  (High  Street, 
Clapham.  S.W.).  A  feature  of  the 
volume  is  the  number  of  plates  in  colour, 
which  give  a  very  adequate  idea  of  the 
patterns  and  colours  of  cretonnes  and  curtains,  and  also 
include  illustrations  of  a  number  of  furnished  rooms. 
Another  useful  feature  of  the  catalogue  is  that  a  large 
number  of  actual  patterns  of  various  textiles  are  inserted. 
The    book    illustrates    a    wide   variety   ot   furniture  and 


Furniture 
Catalogues 


furniture  materials,  the  designs  for  which  are  generally 
attractive  and  marked  by  good  taste,  in  many  instances 
the  pieces  appearing  to  be  directly  reproduced  from  fine 
models  by  eighteenth  and  early  nineteenth  -  century 
makers. 

Messrs.  Fraser&  Co.  1  Antique  Galleries,  Union  Street, 
Inverness'  forward  an  interesting  illustrated  catalogue 
of  antique  furniture.  The  wares  enumerated  include 
some  fine  examples  of  old  silver  and  Sheffield  plate,  a 
good  collection  of  Chippendale  and  Hepplewhite  chairs, 
and  a  large  assortment  of  earlier  pieces  and  old  English 
china.  Among  what  may  be  described  as  oddments  are 
several  Jacobite  and  other  interesting  historical  records, 
including  gloves  once  belonging  to  Sir  Philip  Sydney 
and  Queen  Anne  Boleyn.  A  speciality  of  the  firm  is  old 
Highland  furniture  and  weapons,  of  which  a  large  number 
of  items  are  included. 


62 


I'/ic    Connoisseur 


VALUATION    AND 
CORRESPONDENCE  DEPARTMENT 


Special     Notice 


Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  increased  correspondence  and  the  fact  that  The  Connoisseur  is  printed  a  month  before 
publication,  it  is  impossible  for  us  to  guarantee  in  every  case  a  prompt  reply  in  these  columns,  an 
immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  where 
necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  good:,  should  be  addressed  to  the 
"Manager  of  Enquiry  Dept.,  The  Connoisseur,  35-39,   Maddox  Street,   W." 


ANSWERS    TO    CORRESPONDENTS 


Engravings   and   Etchings. 

"Return  from  Coursing,"  by  Cardon,  after 
Hamilton. — A9,226  (Brecon). — The  value  of  your  engraving 
of  the  above  is  about  £$. 

"Wooded   Scene,"  engraved  by  At.  C.  Prestel. — 

A9,264  (Penrith). — You  say  that  your  print  is  by  Prestel,  alter 
Hobbema,  but  we  are  wondering  if  you  have  confused  it  with 
■Gainsborough's  Forest,  published  in  1799.  Without  seeing  it, 
we  should  place  the  value  of  the  print  at  a  comparatively  low 
sum,  say  under  £1.  The  other  two  engravings  referred  to  are 
of  no  collector's  value. 

"Napoleon  le  Grand,"  by  Bertrand,  after  David. 

—  A9.2S6  (Cork). — The  value  of  your  print,  if  uncoloured,  is 
about  30s, 

"The  Dead  Soldier,"  by  J.  Heath,  after  J.  Wright. 

— A9,292  (Ambleside). — We  think  that  you  have  somewhat 
overestimated  the  value  of  your  print,  all  the  more  so  since  it 
has  been  mounted  and  stained,  which  seriously  affects  its  value 
from  a  collector's  point  of  view. 

"Marriage  a  la  Mode,"  by  Earlom,  after  Hogarth. 

— A9,3io  (Ukley).  —  As  you  are  aware,  the  two  plates  referred 
to  are  part  of  a  set.  We  cannot  say  definitely  without  seeing  a 
specimen,  but  at  present  we  should  be  inclined  to  place  the  value 
of  the  engravings  at  about  £2  2s.  each,  from  your  description. 
The  book  referred  to  is  of  no  collector's  value. 


Furniture. 

Mirror. — A9,i9i  (Brynmawr).  —  It  is,  of  course,  impossible 
to  judge  from  your  photograph  whether  the  mirror  ol  carved 
pinewood,  gilt,  is  a  genuine  antique,  but  the  style  is  that 
prevalent  about  1760.  If  original,  the  mirror  might  be  worth 
,£10  ios.  or  ,£i2   I2s. 

Bracket  Clock.  Ao,22.s  [Stroud),  You  an-  correel  m 
assigning  your  clock  to  the  Empire  period  oi  decoration,  but  we 
cannot  tell  from  the  sketch  whether  it  is  genuine.  This  style  is 
often  reproduced,  and  a  modern  copy  can  be  acquired  foi  ^,4  4s. 
or  £5  Ss-  ^  °"  <'"  ""l  slate  the  makei  ol  the  clock,  moreover, 
which  is,  of  course,  a  mosl  important  [joint. 

Clock  by  W.  B.  Romoli,  Paris.— Ag,264  (Penrith).— 
We  must  see  a  photograph  of  this  clock  in  its  porcelain  case  by 
Jacob  Petit  before  attempting  to  give  an  opinion  on  it. 

Jacobean  Chest  of  Drawers.  -Ac.,314  (Newbury).— The 

correct  handles  for  a  genuine  antique  Jacobean  chest  of  drawei 
should  be  either  verysmall  round  knobs,  or  else  small  peardrop 
handles.       It  is  comparatively  seldom,   however,   that  .1   piece 
of  furniture  of  this  period  is  absolutely   perfect   in  this  respect. 


Pictures   and   "Painters. 

Water-Colours,  signed  D.  Cox. — A9,226  (Brecon). — 
It  is  quite  impossible  for  any  opinion  10  lie  passed  upon  these 
without  an  inspection  of  the  drawings  themselves.  Of  late 
there  has  been  a  remarkable  quantity  of  copies  or  imitatio 
the  artist's  work  on  the  market,  and  Tin:  CONNOISSEUR  has 
been  the  means  of  exposing  one  of  the  factories  which  turned 
out  large  numbers  of  spurious  imitations.  It  is  always  better  if 
the  original  picture  can  be  seen  for  purposes  of  valuation,  and 
in  this  case  it  is  absolutely  essential. 

In  Volume  XII.  of  The  Connoisseur,  on  page  55,  appeared 
an  interesting  letter  from  Sir  Whitworth  Wallis  on  forgeries, 
in  which  the  following  remarks  were  made: — "Thedra> 

.  vary  in  size  from  S  by  6  in.  to  15  by  12  in. 
The  paper  is  artificially  stained  and  worn  down  at  the  edges, 
and  in  -mie  ca-.es  the  mark*  or  circles  of  the  drawing  pins  are 
left.  Occasionally  old  pieces  of  newspaper  are  glued  round  the 
edges  and  back  lo  indicate  that  they  have  been  removed  from 
their  frames.  Each  one  is  signed  in  full,  and  in  the  earliei 
examples  seen  by  me  some  ycai>  ago,  the  signature  bears  but 
little  resemblance  to  Cox's  genuine  handwriting,  bul  in  the 
course  of  time  the  forgery  is  growing  slightly  more  like  the 
original." 

On  page  1S6  of  the  same  volume  we  primed  >  note  com- 
mencing,  "  1  fur  reader-,  will  be  pleased  10  learn  that  the  article 
on  David  Cox  forgeries  in  the  May  Connoissi  i  b  1:i  assisted 
[lie  police  in  bringing  the  culprits  to  justice,"  etc.  There  can 
be  little  doubt  but  what  was  threatening  to  become  a  1 
hindrance  10  the  ait  world  was  crushed  by  means  of  the  activities 
created  in  our  columns. 

Painting  by  Brandt.  Acj,227  (Leeds).  —  Judging  from 
your  letter,  it  seems  quite  possible  thai  you  are  confusing  the 
work  of  two  Dutch    1  mely,N.  Brandt,  who  lived  < 

the  seventeenth  century,  and  was  an  imttatoi  ol   V 
Albert  Jonas  Brandt,  ■>  painter  of  still-life  subjects,   "  hi 
born  in  17S8,  ami  died  in  1S21. 

Identity    of    Artists.       Aq.2/,1    (Halifax). — The  artists 
about   whom    you    make   enquiry  air    as   follow--: — Ignttci 
Iriarte,   Spanish  painter  of  landscapes,  born   1620,  died 
f'.ngel  Sam,  Dutch  portrait  painter,  bom  1699,  died  1769:  and 
Nicolas  I'.crtin,  lunch  painter  ol  historical  subjects, 

IOO7,    did  I    I736. 

Drawing    by    Augustus    Wei  by    Pugin.         A 
(London,  W.), — Your  pen-drawing  ol  Si.   Mary's,   Livei 

(inferior),  signed  with  the  monogram  of  Augustus  Welb)   1 
is  evidently  a  genuine  work  from  the  hand  ol  the  famous  I 
revivalist.      It  is  interesting,  moreover,  that  you  should   also 
possess  the  lithograph    done  after  the  drawii  bly,   we 

should  think,  by  Day.  It  is  difficult  to  appraise  a  value  in  a 
case  like  this,  and  we  should  suggest  that  a  selling  price  would 
In- .1  ni.iitci  for  arrangemenl  betwe>     th        ntn      ng  parties. 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 
IDIC  DEPARJMENT 


Special     Notice 

Readers  of  The  Connoisseur  who  desire  to  take  advantage  of  the  opportunities  offered  herein  should 
address  all  letters  on  the  subject  to  the  Manager  of  the  Heraldic  Department,  Hanover  Buildings,  35-39, 
Maddox  Street,   W. 

Only  replies  that  may  be  considered  to  be  of  general  interest  will  be  published  in  these  columns.  Those 
of  a  directly  personal  character,  or  in  cases  where  the  applicant  may  prefer  a  private  answer,  will  be  dealt 
with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the  accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged  fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or  heraldry,  it  is  desirable  that  the  fullest  details,  so  far 
as  they  may  be  already  known  to  the  applicant,  should  be  set  forth. 


Essington. — Arms  were  granted  to  William  and  Thomas 
Essington,  sons  of  John  Essington,  late  of  Cowley,  near  Essing- 
ton,  co.  Gloucester,  descended  from  the  elder  of  two  houses  of 
that  surname  and  family,  on  the  2S  July,  1610,  by  Sir  William 
Segar,  Knt.  They  are  as  follows:  sa.  five  lozenges  conjoined 
in  cross  or.  Crest  :  a  cubit  arm  erect  ppr. ,  the  hand  grasping  a 
lozenge  or. 

H a  1  FHIDE. — The  arms  you  mention,  viz.,  arg.  two  chev- 
ronels,  one  reversed,  interlaced,  sa.  on  a  chief  az.,  three  cinque- 
foils  or,  pierced  of  the  third,  were  confirmed,  and  a  crest  granted 
in  1 569,  to  Edward  Halfhide,  of  Aspden,  co.  Herts,  son  of  James 
Halthide,  of  Vardley,  in  the  same  county.  The  crest  is  :  a  grey- 
hound sej.  or,  collared  az.,  rim,  stud,  and  ring  of  the  first. 

Hemus. — This  name  is  to  be  found  in  Worcestershire.  A 
Daniel  Hemus,  son  of  John  Hemus,  of  Stourbridge,  was  at 
Balliol  College,  Oxford,  in  1737;  while  John,  son  of  Joshua 
Hemus,  of  the  same  place,  matriculated  at  All  Souls'  College, 
19  October,  1771,  aged  18.  This  John  was  Rector  of  Padworth, 
Berks.,  in  1S01,  and  of  Putlenham,  Surrey,  in  1803,  until  his 
death  in  1823.  The  ordinary  works  of  reference  do  not  give 
any  arms  for  this  family. 

Paki.hv.  — Lieut.  Parlby,  R.N.,  married  Sophia  Sylvester, 
daughter  of  Captain  Holland,  44th  Regiment,  of  Marlborough 
Cottage,  Erompton,  at  St.  Pancras,  the  14  February,  1825. 

YoUDE. — The  Rev.  Thomas  Youde  was  Vicar  of  Higham, 
co.  Kent,  and  formerly  Fellow  of  St.  John's  College  :  B.A.  1765; 
M.A.  176S.  The  vicarage,  worth  ,£200  a  year,  was  in  the  gift 
of  the  Master  and  Fellows  of  St.  John's. 

I  Iran  hiridge. — Burkegives  the  following  arms  for  this  family  : 
ar.  a  bordure  sa.  ;  on  a  canton  gu.  a  fleur-de-lis  of  the  field. 


Arms  on  Dish. — The  arms  engraved  on  your  dish  are  those 
of  the  family  of  Loten,  of  St.  James's,  Westminster,  co.  Middle- 
sex, and  were  granted  in  1765.  The  family  originally  came  from 
Flanders.  The  arms  quartering  these  of  Lnten  are  those  of 
Van  J uchen. 

Alton. — The  following  is  a  short  genealogical  abstract  of  the 
will  of  Sarah  Alton,  of  Headge,  in  the  parish  of  Duffield,  co. 
Derby,  widow.  Several  copyhold  messuages  or  tenements  in 
Twickenham,  co.  Middlesex,  held  of  the  manor  of  Islington 
Syon.  Son  George  Alton,  of  Headge,  yeoman.  Son  Elias  Alton. 
Daughters  Sarah  and  Elizabeth.  Hannah  Sims,  of  the  borough 
of  Southwark,  widow.  Son  Joseph,  of  Nottingham,  tanner. 
Son  Thomas. 

Witnesses :   Ed.  Wade  :  Den  Fell. 

Dated  5  June,  1747. 

Proved  I  Tanuary,  1750. 

(P.C.C.  1"  Busby). 

Burchett. — Will  of  William  Burchett,  Rector  of  Cleworth, 
co.  Berks.,  and  Canon  of  Windsor.  Sister  Margaret,  wife  of 
Jonathan  Wells,  Esq.  Lands,  etc.,  at  Bonner  Hill,  near  Little- 
field,  in  the  parish  of  Kingston,  co.  Surrey.  William  Harvest. 
Roberts.  The  two  daughters  of  the  said  Margaret 
Wells.  Freehold  messuages  in  Silver  Street,  near  Wood  Street, 
in  the  city  of  London.  Brother  Edward  Burchett.  Tenements 
in  Heathen  Street,  in  the  parish  of  Kingston  aforesaid.  .  . 
Crowder.  Two  daughters  of  the  said  brother.  East  India 
Bond  in  the  hands  of  Messrs.  William  and  George  Hatch,  of 
New  Windsor,  co.  Berks.  Friend,  Mr.  Chapman.  Elizabeth, 
wife  of  Thomas  ( '.ill.      Nephew,  William  Burchett. 

Witnesses  :   Thos.  Spencer:  John  Gill. 

Dated  3  September,  1749. 

Proved  7  January,  1750. 

(P.C.C.  2"  Busby). 


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THE   ALPINE  TRAVELLER 

BY    JAMES    WARD,    AFTER    J.     NORTHCOTE,     R.A. 


NE,    19I5- 


Early   Stuart    Portraits  By   W.  G.  BlaiRie    Murdoch 


Thanks  to  the  ineffable  romance  encircling 
the  royal  Stuarts,  a  vast  mass  of  writing  has  grown  up 
around  them,  the  most  voluminous  of  such  writings 
ng  probably  those  dealing  with   Mary  Mueen  ol 
Scots.     There  is  hardly  anything  associated  with  her 
but  has  been  commemorated  by  some  pen.  and  the 
subject  of  her  portraiture  is  no  exception  to  this  rule  : 
foi  it  has  been  handled  at  length  by  divers  competent 
antiquarians  —  notably    Mr.    J.    J.    Foster,    Andrew 
Lang,  and  Mr.  Lionel  Cust — and  nowadays,  in  con- 
sequence,  there  i-   little   doubt   as   to   which   of    the 
ountless  pictures  of  the  queen  may  be  regarded  as 
aving  1  laims  to  authenticity.    The  portraits  ol  Mary  s 
fi  irbears,  on  thecontrarj . 
a  topic  on  which  but 
little   has  been  said   as 
and  it   is  therefore 
1  -ting  to  expi  1  1 
5  on  examining 
-    latter  work-. 
In  treating  of  these 
-     has   to  tread   with 
aui  ii  tn.     All  the 
a  Stuarts  wen  keenl) 
.     ed  in  1  he  arts, 
in   studying  the 
,  eval  r.  1  ords  oi  the 
nast)      tin     a<  1  ounts 
i|  the  Lord  1  ligh  Trea- 

rer,  and  kindred  doi 
ments — on  e   frequently 

m  ross    eferenci 
to  painting.     \  el  these 
eferences  an    u  sually 
ue,  and  thus,  albeit 
.   iihIh  ate  thai  Scol 
and  boasted  a  few  na- 
ive painters  durir 

\1.II       No.  166.    -n 


KIM.    mil-   :. 


Middle  Ages,  these  men  and  their  pictun  -  are  shrouded 
in  mystery.  It  is  virtually  impossible,  in  fact,  to  say 
anything  very  definite  about  Scottish  painting  ant 
to  the  union  of  the  crown-  :  while  the  -indent  of  the 
present  theme  is  confronted  by  a  further  and  perhaps 
more  potent  difficulty — in  short,  the  existence  of  end- 
less copies  of  most  Stuart  portrait-.  The  copying  of 
such  works  is  proceeding  on  a  considerable  scale  even 
at  the  present  day,  while  in  the  Georgian  era  it  was 
earned  on  extensively,  finding  a  good  market  among 
Jacobite  members  of  the  nobility.  1'hroughout  the 
si  venteenth  century  the  practice  was  also  common,  and 
the  re-ult  ol   all  this  is  that,  ill    several   galleries,  one 

finds  a  wl lence 

of    una  Utlli   lltii 

Stuart   portraits.     The 
Earl   of   Galloway, 
example,    pi >ssi  - 

bi  ginning    with 
R.  iberl    II     ■>]n\  ending 
with  James  \  . ;  bul 
ai.ii.  work 

in   e  very  case  1  >f  one 
1.    and    are    quite 
of  no  mon    mcieilt 
than  thi 
torian  pei  ii  id.     Al  1  l<  >1\  - 
:    Palace,   likewise, 
the  banqueling-hal 
tain-  pi  irtraits  of  all  the 
:seottisli    kings   till   the 
Ki  st.  iratii  in  :    \  1  t,    inas- 
much a-  tile 
dry    lot    are    i 
have  been  doi 
lame-  de  \\  itn    in  1 68  |. 

the  early  pictures  among 
them  an    prima 


The   Connoisseur 


imaginative.  A  n  d  at 
Taymouth  Castle,  again, 
the  seat  of  the  Marquis 
of  Breadalbane,  thei  e 
an-  several  mediseval 
Smart  portrai  t  s  ;  but 
i  hese,  as  one  learns  from 
Horace  Walpole's  -  \nec- 
doti  s  of  Painting,  were  all 
painted  in  or  about  1635 
by  George  Jamesone. 
It  is  just  possible,  of 
course,  that  this  artist 
utilised  originals  existing 
111  his  day  but  now  lost  : 
and,  though  this  idea 
has  slender  support  as 
regards  the  Taymouth 
pictures,  a  like  assump- 
tion is  admissible  in 
relation  to  certain  other 
works.  It  were  rash,  no 
doubt,  to  entertain  it  for 
long  in  reference  to  a 
curious  article  in  the 
Sinttish  National  Por- 
trait Gallery — a  family- 
tree  whereon  are  de- 
picted the  Stuarts  from 
their  first  traceable  pro- 
genitors to  the  Merry 
Monarch  :  but  while  this, 
in  li  kclihood,  has  no 
valu  e  beyond  that  of 
being  a  memento  of 
Restoration  days,  one  is 
constrained  to  apply  the1 
aforesaid  hypothesis  to 
another  item  in  the  same 
gallery.  This  item  con- 
sists in  portraits  of  the 
first  five  Jameses,  all  of 
them  probably  from  the 
brush  of  the  same  artist. 
They  were  acquired  only 
four  years  ago,  the  cura- 
tor's attention  being 
called  to  them  by  Dr. 
Hay  Fleming,  the  his- 
t  o  r  i  a  n,  w  h  o  had  dis- 
covered them  in  the 
house  of  a  private  indi- 
vidual. Unfortunately 
their  history  prior  to  this 


JAMES    I.    or    SCOTLAND  FROM    HIE    ENGRAVING    BY 

W.  C.   EDWARDS,    AFTER  THE   PAINTING 

I\    THE    POSSESSION    OF   THE    EARL  OF   DARTMOUTH 


KIM;   JAMES    II. 


SCOTTISH    NATIONAL    I'OKIKAI]     GALLERY 


is  not  known,  but  the 
style  of  their  workman- 
ship strongly  suggest 
the  J  a  in  ■■  s  V.  period, 
while,  moreover.the  mere 
fact  that  that  king  is  the 
last  of  those  delineated 
goes  far  to  indicate  that 
they  were  done  during 
his  reign,  indeed  pos- 
sibly at  his  behest. 

Whether  James  I.  was 
really  author  of  The 
Kingis  Quhair  is  still  a 
disputed  point,*  but  at 
least  he  is  one  of  the 
most  interesting  of  the 
Stuarts,  and  one  would 
fain  see  something 
approximating  a  vera- 
cious likeness  of  him. 
And  it  is,  primarily,  to 
the  above-named  quintet 
that  one  must  look  for 
this,  for  his  picture  there- 
in has  marked  affinity 
with  another  alleged 
portrait  of  him,  also  in 
the  Scottish  National 
Portrait  Gallery,  while 
a  further  indication  that 
the  former  is  in  some 
degree  truthful  will  ap- 
pear presently.  James  V. 
decorated  a  room  at 
Stirling  Castle  with  por- 
trait-medallions carved 
in  wood,  and  they  hung 
there  till  the  end  of  the 
eighteenth  century. 
Presumably  they  repre- 
sented historical  person- 
ages, and  were  arranged 
in  chronological  order  ; 
but,  as  no  attempt  was 
made  to  note  or  pre- 
serve this  when  taking 


*  The  question  is  examin- 
ed in  the  present  writer's 
book,  The  Koyal  Stuarts  in 
their  Connection  villi  Art 
and  Letters  (Edinburgh, 
1908). 


68 


Earlv   Stuart    Portraits 


them  down,  in  the  main 
it  is  difficult  to  know 
who,  precisely,  they  wi  re 
supposed  i"  portray. 
Sorrn  "i  them,  howevi  r, 
are  easily  identi  fied  : 
and  one  of  them  is  dis- 
tinctly akin  i "  the 
fames  I.  portrait  now 
under  discussion,  while 
both  this  and  the  can  ing 
are  likewise  similar  to  a 
later  picture  of  the  king, 
one  contained  in  loiin 
Johnston's  Inscriptiones 
Historica  Regum  Scoto 
rum,  a  book  issued  in 
Ido:. 

But  the  foregoing, 
although  the  most  note- 
wort  hy  of  James's  al- 
leged likenesses,  do  not 
exhaust  the  list.  Several 
earlv  ed  itions  of  the 
poems  ascribed  to  him 
have  a  portrait -frontis- 
piece, and,  though  vera- 
city on  the  part  of  all 
these  is  unsupported,  a 
moment's  attention  is 
due  to  an  engraving  in 
Fraser  Tytler's  Lives  oj 
flu-  Scottish  Worthies 
(London,  1805).  This  is  stated  to  be  reprod 
"from  an  original  painting  in  possession  of  the  Earl 
oi  Dartmouth,"  but  the  present  Earl  can  give  no  in- 
formation anent  the  picture  or  its  whereabouts  to-day, 
Ai  the  same  time,  as  the  print  shows  a  boy  in  his 
teens,  one  is  tempted  to  think  lli.it  it  may  be  authentic. 
James  was  twelve  when  his  captivity  in  England 
began,  and  he  remained  there  till  he  was  thirty. 
Contemporary  historians  an-  agreed  in  stating  that  he 
was  well  educated,  and  well  cared  lor  in  ever)  way, 
so  is  it  not  credible  thai  his  portrait  was  painted 
during  this  time  of  exile?  Any  illumination  of  the 
question  would  be  intensel)  welcome,  and  so  too 
would  any  light  on  the  superb  group  by  Pinturicchio 
in  which  James  figures.  This  is  one  of  a  series  oi 
mural  paintings  in  the  ( 'athedral  Library,  Siena,  their 
subjects  throughout  being  mm  idents  in  the  life  of  Pope 
I 'ins  II.  ;  and,  as  he  visited  the  Scottish  court  in  1  j.35, 
in  the  group  m  question  he  is  duly  shown  parli 
with  the  king.  These  frescoes  were  not  begun  till 
five  years  after  James's  death,  and  whether  the  painter 


.1  NBAS    s',|  VI MINI    BI 

FROM     THE    TAIN  I  IN'. 


was  aided  by  an 
portrait   of  the 

conject  ure  :  but 

i   Scotlam 
est    kings,    pi  vli. 1:1 

•  t.  should 
memorated    in    a    work 
which    is   a  m 
supreme    triumpl 
Italian   art. 

It   is   unlikely   that 
there  is  an)  real  pi  irtrait 
of  James's  queen,    i 
Beaufort,     immortalised 
alike   in    Tin    l\ 
Qtihair  and   in   a   p 
by  Rossetti.     A    51  an 
se  ven  t  een  th-c  e  ntury 
print  purports  to  n 
sent  her,  but  its  authen- 
ticity  is   wholly   iinbut- 
to  ssed,whilein 
of  James    II.   one    is 
confronted   with  1 
difficulties.     At  Schloss 
Kielberg,   near  Tubin- 
gen,   there    was   at 
time  a  portrait  of  him, 
and  though   it   has  dis- 
ared  now,  .1  repro- 
duction   is    found    in 
George  von  Ehingen's  Itinerarium,  published  in  [666. 
It  differs  considerably  from  the  picture  in  the  Scottish 
National   Portrait  Gallery  quintet,  and  thus   neither 
work  serves  to  authenticate  its  fellow  ;  yet  one  cannot 
but  attach  considerable  value  to  the  last-nai 

face   therein    being   typical    of   the    H0US1     Ol    Stuart; 

while  reverting  to  the  Tubingen  work,  th 

in  its  favour  which  is  worth  noting.      I  >ne  of  James's 

Eleanoi    Stuart,    married    the    (hand    r 
Sigismund  of  Tyrol.     Now,  Tyrol  is  not  far  south 
Tubingen,  ami   these    tacts   evoke   the    infeivn.  < 
the   portrait  at  issue  went  abroad   with    El  :ai 
found   its   way   northwards   during   the   innume 
wars  in  which  Sigismund  was  implicated. 
Passing    on    to    later    tunes,    and    Stud)  in£ 

traits    oi    James    III.    and    his   queen,    Mai 

I  1,  i,n ,.h  k,     om '     find       oneself    standing     on     sli 

in  met  ground.    In  1462  Mary  of  Gueldres,  mothi 

lames  1  |  I.,  founded  the  (  Tun  h  of  the  I  lolv   Inn 
Edinburgh,  and  an  altai  : 

by  Sir  Edward  Bonkill.     Partsol  this  altar-piece  have 


1  '  M  1      [AMES  I.  01     I.  \M 

BY    PIN  II   KH  I   HI0 


■in 


JAMES    III.    OF    SCOTLAND 
ASCRIBED    IO   VAN    DER    GOES,    1474 


AT    HOI.YROOU  [PHOTO    (NG1  IS 


MARGARET    OF    DENMARK,    QUEEN    OF    SCOTLAND 

ASCRIBED  TO   VAN   DER   GOES,    I476  \  I     HOLYROOD  [PHOTO   INCUS 


71 


7V/c    Connoisseur 


vanished,  the  vandals  of 
the  Reformation  being 
mayhap  responsible: 
but  two  panels  are  still 

rved  at  Holyrood, 
and  on  these  are  por- 
traits of  James  and 
Margaret.  The  king  is 
shown  in  crown  and 
royal  robes  ;  he  is  kneel- 
ing in  the  act  of  devo- 
tion, and  behind  him 
are  St.  Andrew  and 
the  heir  to  the  throne, 
while  in  the  background 
the  Scottish  1  ion  ram- 
pant is  prominent.  The 
queen  is  also  figured  at 
pray er :  her  dress  i  s 
trimmed  with  ermine, 
while  her  identity  is 
further  proven  by  the 
existence  on  her  prie 
die  it  of  the  arms  of 
Scotland  impaled  with 
those  of  the  triple  king- 
dom of  Scandinavia. 
It  is  clear  that  both 
t  hese  panels  are  by 
the  same  hand,  and  equally  clear  that  he  was  a 
native  of  the  Low  Countries,  yet  his  name  has 
never  been  ascertained.  In  the  earliest  traceable 
document  referring  to  the  portraits  —  a  catalogue 
of  works  of  art  belonging  to  James  VI.  —  they  are 
mentioned  as  "  doune  by  Joan  Vanek";  but  if 
this  stands  for  Jan  van  Eyck,  it  is  obviously  a  mis- 
take, for  he  died  in  1440.  Hugo  Van  der  (k>es 
has  also  been  frequently  suggested,  and  Sir  Claude 
Phillips   once    gave    it   as   his   opinion    that,    though 

ictual  portraits  are  not  by  that  artist,  his  hand 

is   discernible   in   the   Holy   Trinity   painted    on   the 

,    ol   the   lames    III.   panel.      It  must  be  con- 

.1  that  there  is  no  record  of  Van  der  Goes  having 
visited  Scotland,  but  in  the  Middle  Ages  Scottish 
churches  often  had  their  decorations  made  in  Holland 
or  1  landers,  and  the  theory  that  this  was  done  in  the 
present  instance  is  additionally  tenable,  for  a  brother 
of  Bonkill  is  known  to  have  been  at  Bruges  about 
the  time  the  Holy  Trinity  church  was  founded. 
Accordingly,  bearing  in  mind  the  difference  noted 
bv  Sir  Claude,  the  most  rational  conclusion  is  that 
of  the  altar-piece  were  done  on  the  Continent 
bv  Van  der  Goes,  but  that  the  royal  portraits  were 
afterwards  painted  by  a  Fleming  resident  in  Scotland. 


Whatever  his  name,  and 
whatever   the  nature    1  il 
his    other  works,   he- 
achieved  on  this  oc- 
casion a  beauty  which 
no  changing  fashion    is 
likely  to  deny  :  a  beauty 
which,   waiving   some 
pictures  by  Van   1  >yck, 
marks     the     highest 
aitistic  level  attained 
in  the  whole   of  Stuart 
portraiture.      And   it   is 
right  and  fitting  that 
the    dreamy  face    of 
James  III.  should  lie 
perpetuated  in  so   mas- 
terly and  exquisite  a 
style,  for    of   all   the 
Stuarts   few   loved   art 
more  passionately  than 
he,   and  f  e  w  of  the 
dynasty    suffered    more 
bitterly    for  the  predi- 
lection.     Was    it   not 
chiefly    his    refinement, 
his  devotion  to  sesthetics 
in  all    their  branches, 
which    made  him  so 
unpopular  with  the  rude  nobility  of  his  day  in  Scot- 
land, and  led  finally  to  his  tragic  end  at  Sauchieburn  ? 
There   are   divers   alleged  portraits  of  James   I\  . 
One  of  them  is  among  the  treasures  assembled  by 
Sir  Walter  Scott  at  Abbotsford,  and  one  is  naturally 
inclined   to   regard   any   historical   likeness   there  as 
genuine  :  but  the  artist's  name  is  unrecorded,  while 
nothing  is  known  of  the  picture's  history  save  that  it 
was  presented  to  Sir  Walter  by  his  publisher,  Archibald 
Constable.     Another  is  at  Xewbattle  Abbey,  a  home 
of  the  Marquis  of  Lothian,  and  is  ascribed  to  Hol- 
bein :  but  either  this  ascription  is  wrong  or  James  is 
not  the  man  represented,  for  Holbein  did  not  come  to 
England  till  after  Flodden.     Vet  another  is  in  the 
Bibliotheque  at  Arras,  and  this,  according  to  tradition, 
was  copied  from  an   original  now  lost.     Nor  is  the 
theory  other  than  sane,  for  the  picture  has  a  good 
deal  in  common  with  a  portrait  belonging  to  Captain 
Stirling,    of   Keir,    in    Stirlingshire :   and    the    latter, 
though  not  acquired  by  its  present  owner's  family  till 
last  century,  has  huge  claims  to  \  eracity,  as  a  mon 
explanation  will  show.     Daniel  Mytens  copied  numer- 
ous old  portraits  for  James  VI..  and  one  of  these.  111 
a  catalogue  of  Charles  I.'s  collection,  is  mentioned 
as  "King  lames  IV.  of  Scotland,  with  a  faulcon  on 


or    GUISE,    QUEEN    OF    IAMES    V.    AM)    MOTHER 

MARY    QUEEN    of    SCO!  - 
FROM     \    DRAWING    IN    l'HE    BRITISH    MUSEUM 


M 


11 

I* 

if 

r 


^r 


f 


— - 


■       ^ 


i  - 
ft 

F 

-r- 


The    Connoisseur 


Ins  list,  done 
aftei    an   an- 
cieni    watei 
co   our    piece, 
hall  .1  figun     • 

rielif 
while  looking 
further  hack,  in 
a  list  of  pic- 
tures belonging 
to  HenryVIII., 
<piic  finds  the 
entry,  "  facob- 
be,  Kynne  ol 
Scottes,  with  a 
hawke  on  his 
list.'  The  last 
may  be  accept- 
cil  wit  h  o  u  t 
much  reservi 
as  the  water- 
colour  cited  in 
tin-  previous 
quotation,  and 
both  are  easily 
identified  with 
tin'  K  ei  r  por- 
trait, for  My- 
tens'  brush- 
work  i-  recog- 
nisable there- 
in, the  subject 
lias  a  falcon  on 
his  left  wrist, 
while  in  one 
corner  is  a  "J," 
ami  in  another 
'•IV.  Plainly 
one  has  here, 
then,  not  an 
actual  painting 
from  life,  but  a  seventeenth-century  copy  of  one,  the 
probability  being  that  the  missing  original  was  pre- 
sented to  Henry  VII.  at  the  time  Tames  was  married 
to  Margaret  Tudor. 

"Old  Noll  as  he  looked  and  lived" — so  wrote 
Carlyle  of  a  picture  of  Cromwell;  and  so  might  one 
sprak  (if  this  James  IV.  It  agrees  with  all  that  is 
known  of  him,  it  is  true  biography  in  paint,  and  it 
reincarnates  the  very  soul  of  the  man.  Every  trait 
in  his  character  is  given — his  wit,  his  cleverness,  his 
virility,  his  splendid  if  sometimes  foolhardy  bravery  : 
while  his  artistic  tastes  are  not  omitted,  and  as  one 
gazes  one  recalls  that  Tames  was  the  friend  of  many 


JAMES    IV.    '  '!■    SCOTLAND 
FROM     NIK    P0RTRAI1     l\     llll     POSSESSION    "I     i    IPTAIN    STIRLING 


poets  and  mu- 
i  c  i  a  n  s ,    and 

-■in  plo 
own   skill  as 
lutenist  tocourt 

Mar-ant    on 

their  first  meet- 
ing. "Incounty- 
nent  the  kynge 
begi  mne  befoi 
hyr  to  |ila\  ol 
the  clarycor- 
di  s,  and  afterol 
the  lute,  wicht- 
plea  s  yd  h  >  r 
varey  much, 
and  she  had 
grett  plaisur  ti 
here  hym," — 
tints  runs  a  pic- 
turesque con- 
temporary ac- 
count of  the 
royal  w  ooing, 
written  by  fohn 
Voting,  a  her- 
ald w  h  o  a  c  - 
companied  the 
p  r  ospect.n  ■ 
Queen  of  Scot- 
land on  be  r 
journey  thither. 
Of  Margaret 
herself  there 
are  also  numer- 
ous pictures, 
a  n  d  ,  w  h  i  1  e 
none  can  he 
traced  back 
to  the  queen's 
o  w  n  day,  a 
Mytens  copy  at  Hampton  Court  constitutes  a  fail  test 
as  to  the  amount  of  truth  in  older  works  supposed 
to  represent  her.  Among  those  which  resemble 
this  in  some  degree  are  one  at  Arras  and  one  at 
Newbattle,  while  some  similitude  to  the  Mytens  is 
discernible  in  a  drawing  in  the  Lenoir  collection  tit 
Chantilly,  in  one  of  the  Stirling  Castle  medallions, 
and  again  in  a  picture  at  Cardiff  Castle.  One  marks 
the  requisite  similarity  likewise  in  a  work  of  Mabuse 
in  the  Scottish  National  Gallery,  and  as  that  artist 
visited  England  in  the  reign  of  Henry  VII.,  and  gained 
several  royal  commissions,  there  is  really  no  cause 
to  be  dubious  about  this  picture.     What   is  known 


74 


Ear/v    Stuart    Portraits 


ol    Margaret's  character  is  expressed   most  fully  and 
lately  thereby,  while  to  speak  of  its  purely  artistic 
qualities,  its  rich  tone  and  fine  lapidarian  workmanship 
place  it  in  the  front  rank  of  early  Stuart  portrait: 

1  oming  finally  to  the  parents  of  Mary  Queen  of 
Scots  -James  V.  and  Mary  of  Guise — one  is  able  to 
speak  in  more  definite  fashion  than  hitherto.  At 
Hardwick,  a  seat  of  the  Duke  of  Devonshire,  there  is 
a  twin  portrait  of  these  sovereigns,  and  though  its 
artist  is  unknown,  it--  manner  of  technique  proclaims 
it  of  the  James  Y.  period:  the  respective  names  of 
the  king  and  queen  are  stated  beneath  either,  while  at 
the  foot  are  the  royal  arms  of  Scotland  impaled  with 
those  of  Lorraine.  The  picture  is  thus  of  almost 
unassailable  authenticity,  and  with  this  one  as  guide 
it  is  easy  to  verity  some  others,  salient  among  these 
being  two  fine  portraits  of  James,  the  one  at  Windsor 
and  the  other  in  the  Scottish  National  Portrait 
Gallery.  The  Hardwick  painting  likewise  proves  a 
medallion  in  the  Stirling  Castle  set  to  represent  the 
king,  and  his  character,  as  adumbrated  in  all  the  fore- 
going, is  exceptionally  winning.  Two  of  his  con- 
temporaries— Sir  David  Lindsay,  who  was  his  tutor. 
and  Bellenden.  the  historian — affirm  that  he  was  a 
poet  of  a  high  order;  and  though  none  of  his  verse 


>r\  ived,  his  hk-  ■  ds  to  a  mfirm  I : 

while  one  feel,  too,  looking  at  the  slip 

that  it  was  small  wonder   L 

hi     ighout  the «  -  irned 

name  of  "the  poor  man's  king."' 
Mary  also  looks  engaging  in  the  Hardwick  picture, 
which   shows    her  as   a   young   woman  in   the   early 
twenties,  while  there  is  something  distinctly  attra 
in  her  face  as  delineated  by  Janet.      His  drawii 
her   is  now  in  the   British   Museum,  and  a  brilliant 

of  work  it  is.  a  \ast  quota  of  life  and  ol        tl 

d  by  few  lines  and  little  modelling.  It 
depicts  her  in  middle-age,  and  so  the  Hardwick  like- 
ness scarcely  forms  a  confirmation  :  yet  all  doubts  as 
to  authenticity  are  dispelled  by  the  inscription  on 
the  drawing,  "La  Mere  de  la  Revne  d'Ecoss  V 

so  may  one  speak  of  another  picture,  a  three  quai 
length  in  the  English  Xational  Portrait  Gallery,  for 
the  idea  has  been  mooted  that  the  subject  here  is  no: 
Mary  of  Guise,  but  her  more  illustrious  daughter.  1'. 
is  a  painting  of  the  loftiest  beauty,  and  one  would  like 
to  ascertain  the  identity  of  the  sitter;  but  perhaps  it 
is  advisable  to  let  the  matter  rest,  the  very  mention 
of  Mary  Queen  of  Scots  being  liable,  as  the  Highland 
phrase  goes,  "to  set  the  heather  on  lire. 


vajik 

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Iat  onv.<  ay  intvs  .  scorn  >kvm  rkx  > 

t>  vti 

ANNO  A.TAT  IS  *\T 

f  '.  •       in-  •  >■  ■ . 

7    f 

JAMBS    V.     VND    '  CI   1SE,     Mil;    KAT1IER     \M>    MOTHER    "I      MAR>    '."   EBN    Ol     >0 

A I   IKK    THE    PICTURE    IN    THE    COI.LEi    HON    01      I  II  I      1>I   KE   OF    DE\  ONSHIRE  i'1'O    HANKSTAEM1I 


75 


Pottery  and 
Porcelai 


A  Loan  Collection  of  Ralph  Wood  Figures  and  Groups  at  the 
Whitworth  Institute  Galleries,  Manchester       By  FranK  FalRner 


A  PECULIAR  interest  attaches  to  this  import- 
ant little  exhibition  of  some  fifty  earthenware  figures, 
kindly  placed  on  loan  by  a  well-known  collector,  from 
ili.  fact  that  it  happens  to  be  the  first  occasion  upon 
which  the  work  of  Ralph  Wood,  of  Staffordshire,  has 
been  exclusively  displayed  in  a  public  gallery,  and 
an  opportunity  is  thereby  afforded  for  the  wider 
appreciation  of  his  originality  in  modelling  and  his 
exquisite  delicacy  of  coloured  glaze  decoration. 

During  the  last  few  years  certain  collectors  have 
come  to  recognise  that  in  the  eighteenth  century 
England  possessed  a  potter  of  whom  it  may  be  said 
that  the  mantle  of  Palissy  had  descended  upon  him, 
and  this  gathering  together  of  a  small  representation 
of  his  skilful  craftsmanship  serves  to  confirm  their 
judgment,  and  to  bring  about  the  conviction  that 
most  of  the  figure-modellers  of  more  recent  date  have 


been   largely  inspired   by  the  artistic  example  set  by 
Ralph   Wood  and  his  son. 

Their  later  productions,  shown  separately,  and 
decorated  with  strong  enamelled  colours,  clearly 
demonstrate  how,  after  the  period  of  coloured  glazes, 
necessarily  of  limited  and  refined  range,  had  passed 
away,  the  revelling  in  an  almost  unlimited  palette 
quickly  followed,  when  the  decorator,  no  longer 
hampered  by  the  running  of  one  glaze  into  another, 
indulged  in  garish  flesh-tints,  and  let  himself  go  in 
the  adoption  of  the  vividly  coloured  draperies  ami 
accessories  so  painfully  characteristic  of  many  ot  the 
nineteenth-century  Staffordshire  figures  and  groups. 
Whether  the  China  figures  of  Bristol,  of  Chelsea,  or 
the  other  contemporary  fabriques  could  have  been 
decorated  with  the  more  beautiful  coloured  glazes 
instead  of  the  brighter  enamels  raises  a  question  of 


i 


No.     I. — RALPH     WOOD'S     MODEL     OF     THE     NEAPOLITAN     1  l»\ 


76 


« 


i& 


MARY    Ol EEN    OF    SCOTS 

BY    JANET 

From  the  picture  in  the  possession  of  Earl  Spencer,   K.G.,  at  Althorp 


3  I 


■ 


Collection  of  Ralph   Wood  Figures 


historical  technicality  only  to  be  answered  by  the 
student  of  research  in  these  well-trodden  but  not 
wholly   explored    paths — quite  possibly  the  fact  that 


valuable    collections    in    the    possession    of   private 

owners  are  of  considerable  importance. 

The  subjects  chosen  by  the  Ralph  Woods,  assisted 


N'o.    II.   -win  ii:    in 

the  productions  of  the  Ralph  Woods  were  in  earthen- 
ware and  not  china  may  be  suffii  nut  reason  for  the 
strange  fact  that  tin  process  of  glazing  in  colours  in 
early  days  would  appear  to  have  been  mastered  by  a 
single  individual  or  family  in  England. 

The  period  of  production  of  the  objects  in  the 
collection  ranges  from  about  1740  to  tin-  end  ol  thi 
century,  and  those  decorated  with  coloured  glazes,  11 
is  reasonable  to  suppose,  would  be  made  during  the 
first  thirty  years  or  so.  As  at  that  time,  with  the  one 
exception  of  [osiah  Wedgwood,  the  potters'  output 
would  not  be  very  large,  it  is  natural  that  no  greal 
quantity  ol  these  at  one  time  neglected  works  ol 
art  should  have  survived.  There  an-,  however,  a 
'air  number  in  our  public  museums,   and   one  or  two 


s|      OF     MILTON 

at  times  by  their  friend  John  Voyez,  ma)  be  thus 
classified  : — 

( 'lassie  ami  allegorical  statuettes. 

Pastoral  groups  and  figures. 

Portrait  busts  and  figun  s. 

Equestrian  groups. 

figure  jllgs. 

Animals. 

Flower-holder  ornaments  and  plaques. 

And  the  fact  must  be  conceded  that  the  high  standard 
of  modi  lling  ai  hieved  in  many  of  their  subjects  was 
naturally  not  attained  in  all  their  productions.  It 
should,   however,    be   borne   in   mind   that    mm 

their  work  was    essentially  original,  and    that   in  those 


7'' 


The    Connoisseur 


days  their  lo- 

i 1  1 1  v  was 
remote  from 
the  foreign 
in  f  1  uences 
prevailing  in 
the  southern 
parts  uf  Eng- 
land, in  Bris- 
tol, and  even 
in  I  >erby. 

With  regard 
to  the  im- 
pressed marks 
found  upon 
these   objects 
under  review, 
t  h  e    n  a  m  e 
u .    wood   i  n 
d  capital 
letters   has 
been   record- 
ed upon  some 
four  or  five  examples. 
Burslem,"  in  capitals 
quite  so  rare.    Thosi 
I  "earing  the   former 
mark  are  either  white 
or  decorated  wi  th 
coloured  glazes,  and 
those  impressed  with 
the  latter  are  white, 
coloured  glazed,  or 
enamelled.    Another 
distinctive  feature  of 
marking  is  the  series 
i  if  mou  Id  numbers  : 
these    appear   upon 
examples  decorated 
in  both  manners  and 
i  m  white  figures,  but 
so   far  they  are   not 
associated  with  the 
mark  R.  wood.     The 
list  of  mould  num- 
.  has  now  become 
amplified   since   its 
introduction   in    Tilt 
WHO  J    Family  uj 
Burslem,   published 
in   iqi2    by  Messrs. 
Cha  pman    &    Hall, 
wherein   also   is    set 
forth   the    pedigree 


Nc 


III. 


1U1  I  -KM  I 


whereas  that  of  "  Ra.  Wood, 
and  lower-case   letters,    is   not 


N'O.   IV. 


NEPTUNE    A\l>     \  KM  - 


showing  the 
I  a  m  i  1  v  con- 
in  i  tions  be- 
t  «  e  e  ii  t  h 
W oods  a  ml 
the  Wedg- 
woods in  the 
eig  lit  e  enth 
century. 

Other  pro- 
minent cha- 
racteristics i 
the  Ralph 
Wood  earlier 
groups  a  i 
their  u  n  - 
glazed  bases 
and  occasion- 
al u  n  g  1  a  z  e  d 
spaces,  where 
the  coloured 
glazes,  having 
been  applied 

with  a  brush,  have  here  and  there  missed.    These  fea- 
tures, however,  are  not  applicable  to  all  early  examples. 

No.i.  shows  K.i 
WOod's  model  of  the 
Neapolitan  lion  ;  he 
also  made  a  large  i 
model  from  the  world- 
famed  lion  in  the  Log- 
gia dell  Orgagna  at 
Florence.  Both  these 
reproductions  are  ex- 
cellent specimens  of 
the  potter's  craft. 

N'o.  ii.  isfromanun- 
common  white  bust 
ofMilton,  i  2^in.high, 
and  unmarked.  Hi^ 
smaller  bust,  9  in. 
high,  of  which  sevi  ra 
examples  are  known, 
is  marked  "Ra.Wood, 
Burslem,"  with  the 
mould  number  82, 
and  is  uncoloured. 

No.  hi.,  the  Bull- 
bait,  a  favourite  sub- 
jectof  the  eighteenth- 
century  potters,  is  a 
spirited  and  typical 
example,  decorated 
with  coloured  glazes 


A     P  UK     01      \\  III  I  1       -I   \  M    Kl   I  1.- 


SO 


The    Connoisseur 


and  unmarked.  Thi  lull 
fleshness  in   the  treat- 
ment of  the  eye  of  the 
hull   is  a   characteristic 
feature  in  the  modelling 
of  many  (if  these  figures. 
No.  iv.,   Neptune  and 
Venus,   a  pair  of  white 
statuettes.  These  models 
have    been   frequently 
copied   by  later  potters, 
and  the  early  examples 
arefound  mounted  upon 
differently  shaped  bases 
and  pedestals.      They 
are    cleverly    conceived 
figures,  and  the  face  of 
Neptune  may  be  tr.i.  ed 
in  its  likeness  to  several 
other  of  the  Ralph  Wood 
models. 

No.  v.,  St.  George  and 
the    Dragon,    though 
an  important  equestrian 
group,   derives   much 
charm    from    the   richly 
coloured    glaze   scheme 
of  decoration  rather  than 
from    the   modelling. 
This  has  always  been  a 
popular  subject,  and  is 
to  be  found  in  all  three 
schemes  of  decoration, 
and   the  name   "Ra. 
Wood,    liurslem,"   with 
the  mould   number  23, 
is  occasionally  to  be  ob- 
served upon  the  early  ex- 
amples.   This  particular 
one,    decorated    in   col- 
oured glazes,  hears  the 
mouldnumber  2  5  clearly 
impressed  thereon. 

No.  vi..  the  Widow  of 
Sarepta — one  of  a  pair 
ofgroups,  the  companion 
being  Elijah  and  the 
Ravens.  This  is  an 
enamelled  example, 
therefore  the  camera 
.shows  it  to  considerable 
disadvantage.  The  chief 
interest  in  this  group  is 
the  fact  that  it  hears  the 


VII. — POINTER     DOC. 


No. 


VIII.     rom     i!  .. 

S2 


impressed  mark  "  Ra. 
Wood,  liurslem."  These 
two  religious  groups 
have  been  most  popular, 
many  subsequent  potters 
having  made  mou  Ids 
thereof  differing  in  cer- 
tain details.  This,  how- 
ever, is  the  only  one  as 
yet  recorded  bearing  the 
Ralph  Wood  mark. 

No.  vii.,  Pointer  Dog. 
This  is  one  of  a  pair,  the 
companion  being  a  Set- 
ter :  the  base,  designed 
to  represent  a  somewhat 
flattened  cushion  with 
tassels  at  the  corners, 
has  been  adopted  for 
several  otherappropriate 
subjects.  The  model- 
ling of  this  old  English 
sporting  dog  is  excellent : 
there  are  two  different 
designs  of  the  Setter. 

No.  viii.  represents  a 
desirable  specimen  of  a 
Toby  jug.  decorated   in 
delicately  coloured 
glazes,  and  is  of  the  well- 
known  model  copied  by 
many  later  potters,  and 
as   a   rule   painted   with 
p  r  o  n  o  u  n  c  e  d  ena  m  e  1 
1  olours,  varying  as  to  de- 
tails in  the  small  acces- 
sories. The  Ralph  Woods 
were  the   progenitors  of 
this  popular  design,  and 
one  example  exists  bear- 
ing  the   mark  of  "  Ra. 
Wood,  Burslem,"  with 
its  mould  number  51. 

Their  figure  jugs  con- 
sist of  a  large  variety  of 
subjects,  and  the  follow- 
ing may  be  found  in- 
cluded in  the  cabinets 
of  Toby-jug  collectors  : 
The  Thin  Man;  The 
Planter  ;  The  Sailor; 
Martha  Gunn  :  The 
Squire,  and  the  Old 
English  Gentleman. 


Balloon    Caricatures 


By    Mrs.  F.  Nevill  Jackson 


There  has  never  yet  been  an  important 
discovery  in  any  branch  of  science  that  has  not  been 
food  for  mirth.  From  the  first  moment  that  the 
problem  of  aerial  navigation  became  of  serious  im- 
portance, the  wits  began  to  point  out  the  humours  of 
the  new  science,  and  the  cartoonists  to  make  game 
of  the  exponents  and  their  work.  A  long  list,  headed 
by   Rowlandson,   might  be  compiled  in  which   many 


illustrious  names  would  show  that  the  artists  of  tin' 
day  have  successively  recorded  their  humorous  history 
nl   aerostation. 

The  collection  of  caricatures  on  the  subject  of 
ballooning  produces  a  very  interesting  portfolio,  .mil 
this  is  further  enriched  if  the  humorous  .illusions  in 
contemporary  journals  are  sought  fir.  One  of  the 
earliest  satires  was  published  in  the  Almanack  pom 


.LOONS 


i    u:i.    \  l  i   Kl.    in-     I  III.    MONTGOLFIERS  -      BUSHED    IN    LONDON,    MARCH    .(111.    1 7-S  j 

83 


The   (  onnoisseiir 


Rin  in  1787,  accompanied  by  some  verses.  I  In 
print  shows  "an  infallible  means  of  raising  balloons." 
( >ne  of  the  small  Montgolfier  globes,  with  no  cai 
attai  lied,  is  being  hoisted  from  the  ground  by  means 
of  strong  ropes.  Men  in  the  garb  of  pierrots  and 
harlequins  arc  pulling  at  the  cords.  Of  the  same 
date  is  "an  infallible  means  ol  guiding  balloons," 
where  the  balloon,  from  which  a  man  is  suspended,  is 
in  mid-air,  dragged  along  by  two  asses  ridden  postillion- 
wise  by  another  pierrot. 

,\s  1  arly  as  September  15th.  1784,  the  news  slit.,  is 
were  making  fun  of  the  famous  balloonists: — 

"Flighi    in  ax  Air-Balloon. 

"  This  day  at  noon  it  is  suspected  Mons.  Lunardi 
means  to  eclipse  the  sun.  An  English  gentleman 
uoes  aloft  in  company  with  him  in  the  character  of 
the  Man  in  the  Moon  !  After  this  adventurous  pair 
have  passed  the  atmospheric  limits,  it  is  imagined 
they  mean  to  have  a  boxing-bout  with  Castor  and 
Pollux,  and  to  drive  them  from  their  situation  among 
the  constellations,  which  they  mean  to  assume! 

'•  They  mean  to  take  only  a  sack  of  flour  and  a  few 
bottles  of  rum  with  them  by  way  of  provisions.  The 
flour  will  be  made  into  cakes  as  they  pass  through 
the  rain-clouds,  which  will  be  baked  in  the  sun  the 
first  fine  day  afterwards.  They  will,  of  course,  catch 
wild-fowl  enough  on  their  passage  to  supply  their 
table  :  and  in  regard  to  their  store  of  rum,  it  is  only 
necessan  to  fasten  a  shower  to  the  tail  of  the  balloon, 
and  they  will  never  be  in  want  of  grog. 

"As  all  the  town  are  mad  after  the  sight,  Mons. 
Lunardi  has  fixed  upon  the  artillery  ground  as  the 
-pot   most   contiguous  to   Bedlam. 

'The  gentlemen  of  the  City  Association  are  to  be 
under  arms  to  preserve  the  balloon  from  violation, 
and,  as  it  is  their  department  to  see  to  the  hanging 
of  criminals,  it  is  but  right  they  should  inspect  the 
aerial   suspensions  of  men   of  every   description." 

This  hanging  joke  is  made  to  serve  on  many 
occasions.      On   May   25th,    17X5,   appeared  : — 

"Mr.  Lunardi  and  Mr.  Blanchard's  last  aerial  trips 

were  both  alike  unsuccessful  and  ill-omened.      Both 

incurred  the  risque  of  breaking  their  necks,  but  the 

one  pushed  directly  for   Tyburn,  while  the  other  look 

ottrsi   towards  the  Woolwich  hulks." 

On  April  25th,  1786,  Lunardi  is  again  the  butt  ol 
a  jest,  this  time  in  connection  with  the  Old  East 
India  <  1  unpany  : — 

"  Lunardi's  request  to  the  Court  of  Directors  for  a 
passport  to  the  East  Indies  occasioned  some  delibera- 
tion in  Leadenhall  Street.  His  suit  was  at  length 
rejected,  as  it  was  considered  dangerous  to  teach 
the  Company's  servants,  who  are  already  above  their 


masters,  to  ascend  still  higher.  Lunardi  travels  to 
the  clouds  for  existence,  and  1  >r.  Graham  buries 
himself  underground  for  the  same  purpose.  Pitiable, 
indeed,  is  the  fate  of  those  men  who  cannot  gel  a 
livelihood  on  the  face  of  the  earth." 

Apropos  of  Ilia  11  chard's  ascension  on  October  19th, 
1784,  it  is  said,  "Messrs.  Blanchard  &  Sheldon  both 
declare  that  during  their  voyage  they  continued  111 
high  spirits.  This,  we  think,  nobody  will  doubt,  from  the 
altitude  to  which  they  were  raised  in  the  atmosphere." 

In  1S02  the  aeronaut  Barrett,  who  if  chiefly  famous 
for  his  unsuccessful  attempts  at  ballooning,  was  made 
game  of  in  many  ot  the  newspapers: — 

"Many  persons  are  enquiring  what  was  the  shape 
of  Mr.  Barrett's  late  aerostatical  machine.  About  ten 
years  since  it  may  be  recollected  .1  balloon  was  con- 
structed at  Chelsea  in  the  shape  of  a  whale,  and 
which,  on  being  tried,  showed  no  alacrity  but  that 
ol  sinking.  The  answer  to  the  enquiries  respecting 
Mr.  Barrett's  balloon  may  therefore  fairly  be,  'that 
it  is  very  like  a  whale.' 

"Some  of  the  papers  speak  warmly  in  praise  ol  the 
coolness  of  Mr.  Barrett,  the  would-be  aeronaut.  It 
would  be  singular,  indeed,  if  a  man  could  not  retain 
bis  coolness  who  never  mounted  to  a  greater  height 
than  that  of  the  Piccadilly  Pump." 

On  November  10th,  1S02,  the  following  paragraph 
appeared : — 

"The  flying  experiment  of  Mr.  Barrett  and  diving 
attempt  of  Mr.  Todd  both  having  failed,  it  has 
quaintly  been  said  that  the  former  could  not  get  up 
nor  the  latter  get  down.  This  is  somewhat  familiar 
to  the  observation  made  on  Sir  William  Chambers 
and  Sir  Joshua  Reynolds,  when  a  part  of  the  terrace 
of  Somerset  House  gave  way — 

••  '  Sir   William's  works  all  meet  die  ground. 
<\\  Joshua's  colours  fly.'  " 

It  not  infrequently  happened  in  the  early  days  ol 
ballooning  that  the  public  was  duped  by  men  who. 
pretending  to  possess  more  knowledge  than  they  had. 
sold  tickets  for  viewing  the  inflation  and  ascent  and 
then  decamped. 

Amongst  the  failures  which  ended  disastrously  was 
that  of  the  Abbe  Miolan  and  Janinet,  which  ended  in 
a  si  1  ne  very  like  that  which  took  place  at  Juvisy  at 
the  aviation  meeting  in  1909.  when  the  railway  broke 
down.  An  immense  balloon  had  been  construe  ted, 
and  was  to  be  inflated  at  the  Luxembourg,  where 
a  large  crowd  waited  from  early  in  the  morning  till 
live  o'clock  in  the  afternoon  in  a  blazing  July  sun. 
When  at  sunset  the  huge  machine  was  still  inert  on 
the  ground,  the  multitude  left  their  -eats,  for  which 
they  had  paid  many  francs,  and  threw  themselves  on 


84 


—         > 


^  1    w- Jm 


3 

u-l 


•s5 


The   C  onnoisseur 


I     PI   n  [-MAITRE     PIIYSICMKN 


I. A  COQUETTE     PHISK  IENNF 


DRESS    CARICATURES    PUBLISHED     IN     PARIS    DURING     HIE     MOXTGOLFIER     PERIOD 


the  barricade,  broke  it,  trampled  and  smashed  the 
gallery  of  the  balloon,  the  instruments,  and  all  the 
machine,  eventually  setting  fire  to  the  envelope.  In 
the  caricatures  which  appeared  after  this  event,  the 
Abbe  Miolan  was  represented  with  bands  round  his 
neck,  while  Janinet  was  shown  as  a  donkey.  In 
another  the  cat  and  the  ass  arrive  in  their  balloon  at 
the  Academy  of  Montmartre,  and  turkey-cocks  and 
geese  receive  them.  Songs  of  derision  and  epigrams 
console  the  defrauded  populace,  and  the  words 
"l'Abbe  Miolan"  were  found  to  form  the  anagram 
"  Ballon  abimee." 

In  1802  comes  a  political  caricature  from  the  Strand 
publisher,  Williamson.  A  dandy  ascends  with  a 
lady  who  might  well  represent  a  buxom  Britannia. 
■'  Madam,  I  hope  you  sits  very  much  as  you  like. 
he  is  represented  as  saying.  "  New.  Mr. Gallingring, 
I  sit-  .1-  easy  as  one  of  my  dear  Mr.  Firken's  cheeses 
in  the  scale."  The  crowd  below  looks  up,  and  each 
has  lii-  say.  "  Slip  your  cable,  my  hearty,  and  make 
sail  for  no  man's  land."  "Jack,  she'll  never  rise: 
is  heavy  as  two  aldermen.''  Such  are  samples 
of  the  wit  which  is  written  on  the  sheet,  and  supposed 
to  be  issuing  from  the  mouths  of  the  onlookers  in  the 

'      iffected    by  the  political  caricaturists  of  the  day. 
Partaking  of  the  character  of  a  farce — though  ending 


fatally — was  the  balloon  duel  which,  accordin_ 
the  annual  register  of  June  23rd,  1808,  was  fo 
on  May  8th  of  the  same  year.     The  principals  were 
M.  de  Granprie  and  M.  le  Pique.     The  cause  of  the 
quarrel,  the  lovely  Mademoiselle  Trvert,  a  member  of 
the  Opera  Ballet. 

"  A  challenge  ensued.  Being  both  men  of  ele\  a 
minds,  they  agreed  to  fight  in  balloons,  and  in  order 
to  give  time  for  their  preparation,  it  was  determined 
that  the  duel  should  take  place  on  that  day  month. 
The  parties  met  at  a  field  adjoining  the  Tuileries, 
where  their  respective  balloons  were  ready  to  receive 
them.  Each,  attended  by  a  second,  ascended  his  car 
loaded  with  blunderbusses,  as  pistols  could  not  be 
expected  to  be  efficient.  A  great  multitude  attended 
on  hearing  of  the  balloons,  but  little  dreaming  of  the 
purpose,  the  Parisians  merely  looking  for  the  novelty 
of  a  balloon  race. 

"At  nine  o'clock  the  cords  were  cut,  and  the  balloons 
ascended  majestically  amid  the  shouts  of  the  specta- 
tors. The  balloons  kept,  as  far  as  could  be  judged, 
within  about  eighty  yards  of  each  other.  When  they 
had  mounted  to  the  height  of  about  900  yards,  M.  le 
Pique  fired  his  piece  ineffectually.  Almost  immediately 
after  the  fire  was  returned  by  M.  Granprie,  and 
penetrated  his  adversary's  balloon,  the  consequence 


86 


Balloon    Caricatures 


of  which  was  its  rapid  descent,  and  M.  le  Pique  and 
his  friend  were  both  dashed  to  pieces  on  a  house-top 
over  which  the  balloon  fell.    The  victorious  Granprie 


how  imposing  was  the  ascent,  and  how  t<  rrified 
all  the  occupants  of  the  car.  ''They  say  we  ■ 
our  flags,  and  I'm  sure  it   I  had  a  flae  in  my  ha 


GENII    S    S  I   \K\  INC     IN     AN     All  IC 


li    BUSHED    IN    London,    END   OF     EIGHTEENTH    CE.NTI   KV 


then  mounted  aloft  in  the  grandest  style,  and  de- 
scended  safe  with  his  second  about  seven  leagues 
from   the   -pot  of  the  ascension." 

In  a  letter  "To  the  Editor  of  Figaro,  London, 
October  22nd,  1836,"  a  humorous  description  is  given 
of  an  ascent  with  Mr.  C.reen  from  Yauxhall  Gardens, 
commencing:  "Ascending  with  Greens,  it  is  little 
wonder  that  we  came  down  in  a  field  of  cabbages" 
The  writer  describes  at  great  length  in  a  full  column 


must   have    shook.      Xo   sooner   had    Wi  I      1   the 

level  of  the  lir>t  floors  in  the  ascent  than  «v  shot 
majestically  up  among  the  attics,  and  then  almost 
immediately  found  ourselves  among  the  chimney-pots. 
1  now  began  to  feel  I  was  above  the  world,  and  taking 
out  my  large  telescope,  1  minutely  observed  tin-  a 
-tails,  and  particularly  remarked  how  -mall  the  penny 
lots  appeared.  The  most  interesting  thing  I  h 
Mr.  Green  sav  was,  'Now  we'll  descend,' and  when 


<  a. 


it  par  Mm  I  '■'        ' 


BALLOON      \n|.    CRINOLINE    CARICA1      R]  PUBLISHED     IN      PARIS      UiOU'l 

87 


The   Connoisseur 


we  hud  all  tumbled  out  like  so  many  ninepins  rolled 
down  with  a  single  hall,  1  felt  quite  brave  and 
comfortable." 

We  may  fittingl)  close  the  account  of  some  oi  the 
:nn  >>(  the  ballooning  craze  by  quoting  three  out  of 
the  twelve  stanzas  from  the  first  number  of  BeiitUys 
Miscellany,  which  is  described  in  a  contemporary 
journal  as  "coming  forth  under  the  direction  of  the 
ious  Boz,  and  promises  to  be  a  very  agreeable 
member  of  the  numerous  race  of  monthlies  "  : — 

"THE    MONSTRE    BALLOON. 
"  Oh,  the  balloon,  the  great  balloon  '. 
I:  left  Vauxhall  one  Monday  at  noon, 
And  every  one  said  we  should  hear  of  it  soon, 
With  news  from  Aleppo  or  Scanderoon. 

ty  soon  after  folks  changed  their  tune  : 
The  netting  had  burst — the  silk — the  shalloon  : 
I:  had  met  with  a  trade  wind — a  deuced  monsoon — 
It  was  blown  out  to  sea — it  was  blown  to  the  moon — 
They  ought  to  have  put  off  their  journey  till  June  : 

none  but  a  donkey,  a  goose,  or  baboon, 
Would  go  up,  in  November,  in  any  balloon  ! 


■Then  they  talked  about  Green— oh.  where's  Mister  I 
And  where's  Mister  Holland  who  hired  the  machine? 
And  where  is  Monk  Mason,  the  man  that  has  been 
Up  so  often  before— twelve  times  or  thirteen — 
Ami  who  writes  such  nice  letters  describing  the  scene  ? 
And  where's  the  cold  fowl  and  the  ham,  and  poteen  ? 
The  press'd  beef,  with  the  fat  off— nothing  but  lean? 
And  the  portable  soup  in  the  patent  tureen  ? 
Have  they  g"t  to  grand  Cairo?  or  reach'd  Aberdeen? 
Or  Jerusalem — Hamburgh— or  Ballyporeen  ? 
No  !  they  have  not  been  seen  !     Oh,  they  hav< : 

'  But  here's  Mister  Hughes  '.     What  says  young  Mr.  Hughes 
Why,  I'm  sorry  to  say  we've  not  got  any  news 
Since  the  letter  they  threw  down  in  one  of  their  shoe-. 
Which  gave  the  Mayor's  nose  such  a  deuce  of  a  bruise, 
As  he  popp'd  up  his  eye-glass  to  look  at  their 
Over  Dover ;  and  which  the  folks  flock  to  peruse 
At  Soulier's  bazaar,  the  same  evening,  in  crewes. 
Politicians,  newsmongers,  town  council,  and  blues. 
Turks,  heretics,  infidels,  lumbers,  and  Jews, 
Scoring  Bachelor's  papers,  and  Warren's  reviews  : 
But  the  wind  was  then  blowing  towards  Helvoetsluys, 
And  my  father  and  I  are  in  terrible  stews. 

lar^e  a  balloon  is  a  sad  thing  to  lose." 


SKIT   ON    Till  AND    HORSELESS    CARRIAGE   CRAZE 


ABOUT    1820 


88 


PORTRAIT   OF    DAVID   GARRICK 

BY    JOHN    ZOFFANY,    R.A. 

In   the  collection  of  Earl  Spencer.   K.G.,  at   Althorp 


Peasant  Jewellery  of   Holland 

Si  ■  different  arc  many  of  the  aspects  of  English 
and  Dutch  life  that  it  seems  difficult  to  believe  that 
the  two 'peoples  are  not  only  closely  akin  in  race, 
but  arc  merely  divided  by  a  hand-breadth  ol  sea.  An 
old-world  atmosphere  still  lingers 
in  many  of  ihe  rural  districts 
i  il  1  [olland,  which  is  not  to  be 
rivalled  even  in  the  more  re- 
part  of  the  British  Islands. 
It  is  not  so  much  that  the 
buildings  are  more  ancient  as 
that  everything  is  consistent 
with  them:  and  so,  instead  of 
merel)  coining  across  -ome 
le  visitor 

appears  stepping  into  it.  The  costume  ol  the  people 
p  this  illusion.  Go  where  one  will  in 
the  British  [sles,  it  is  impossible  to  gel  away  from 
thi  orthodox  twentieth-century  garb,  which,  with  some 
slight  modifications,  prevails  in  all  large  modern 
cities.  The  old  English  smock-frock,  the  tall  hat 
and    pictui  costume    once    generally   worn    by 


noon     FOR     WOMJ 
sn  via; 


By  Edwin   R.  Baird 

An  essential  portion  of  this  costume — especially  in 
gala  times — is  the  jewellery.  Probably  it  is  the  oldest 
part  ol  it.  tor  among  primitive  races  the  desir 
personal  adornment  generally  precedes  the  desire  for 
raiment.  Thus  the  makii 
jewellery  is  the  most  ancient  of 
artistic  crafts,  and  peasant  jewel- 
lery may  1m-  regarded  as  its 
oldest  existing  form  in  common 
use.   with   the  exception,   of 

course,    of  til' 

which  are  frank   reproductions 
of  the  antique.      The  greal 
of   some  of   the  designs  of  the 
peasant  jewellery  is  shown  by 
their  forms  occurring  among  widely  separat 
pointing  to  a  common  and  remote  origin.    This  p 
of    the    subject    is,    however,    too   lar-i 

onsidered  in  the  present  article,  which 
is  merely  a  short  description  ol   the  ; 

and  inexpensive  puces  in  common  use  in   li 
They  exhibit   the   beauties  and  failings  commn 


\,     OF       ."il       01 
I '  I    Ml 


[RONS 

: .  the  dress  ol  the  I  [ighlander, 
have  practically  disappeared  from  ordinar)  life;  but 
in   Holland  the  peasantry  still  wear   much  the  same 

clothes  as  they  did  (  enturies  ago.  and  the  gain  : 
picturesque  appi  irana    ol   the  country  is  imm 


a  jewelli  i  ■■'■       Foreign  influ 

have  scarcelj   affei  ted  the  designs,   w  t : 
i  li.ua.  teristic  of  the  people  and  rai  j  ol  tin 
those  of  more  the  styles  ol  v 


1  ENDING     p  \R  J  s     OF      I  HE     M'IRAI  S 


HEAD-WEAR     OF     PLAIN     GOLDEN     PLATES 


FLAT     r.OI  DEN     PLATE     ATTACHED     TO     HEAD-BOW     OR     HOOD 
9? 


in  I  I       ILLUSTRATIONS     SIIOWINC     HOW      Mil      ORNAMENTS      VRE     WORN 


93 


The   Connoisseur 


ilso  more  picturesque, 
for  their  makers,  debarred 
by  the  comparative  poverty 
of  their  clients  from  mak- 
ing a  lavish  display  of 
1 i  istl]  gems  and  heavy  gold 
mountings,  are  compelled 
to  trust  to  beauty  of  work- 
manship and  design  for  the 
effect  of  their  jewels.  The 
failing  of  peasant  jewellery 
is  that  it  is  apt  to  become 
sti  reotyped.  The  makers 
continue  to  reproduce  old 
patterns  which  have  been 
handed  down  from  time 
immemorial,  and  rarely 
introduce  novelties.  They 
are  not  wholly  to  blame 
for  this,  as  the  peasantry 
much  prefer  the  traditional 
1 1. 1  Herns. 

An  interesting  feature  of 
Dutch  work  is  that  nearly 
every  district  f  o  1 1  o  w  s 
its  own  traditions,  so  that 
designs  which  are  in  vogue  in  one  village  may  be 
quite    distinct    from    those  in   its    immediate  neigh- 

1.       This    is    well    shown   in    the   head-gear 

which  forms  such  a  beautiful  and  striking  feature  in 
a  I  iu tcli  an  man's  cos- 
tume. An  illustration  is 
given  of  a  typical  hood, 
made  of  gold  or  silver 
plate,  w  urn  round  the 
li  e.id  in  North  H  o  1- 
land.  The  square  orna- 
ments in  front  cover  the 
temples  of  the  wearer. 
This  example  shows  the  transition  from  the  broad 
Frisian  hood  to  the  still  narrower  bow.  A  lace 
bonnet  of  different  shape  to  that  worn  in  Friesland 
covers  the  bow.     The  narrow  head-bow  or  so-called 


lluu      THE     ORNAMENTS     ARE     WORN 


UlAMiiMi     BONNE! 


ear-irons  worn  in  Zeel 
and  around  the  Zuidei 
arc  a  still  further  develop- 
ment in  the  direction  of 
narrowness,  from  the  broad 
hood  covering  the  h 
entirely,  which  was  once 
lerally  worn.  In  this 
form  it  merely  becomes  a 
wire  on  which  to  hang 
the  decorations  which 
adorn  the  ends.  Th 
are  of  various  descriptions, 
among  the  more  usual 
being  gold  or  silver  spiral-, 
the  number  of  windings 
of  which  indicates  the 
wealth  or  poverty  of  the 
wearer.  The  pending  parts 
of  the  spirals,  sometime- 
set  with  pearls  like  ear- 
rings, and  at  others  wholly 
composed  of  worked  metal, 
are  frequently  of  a  most 
elaborate  character.  An- 
other and  almost  uni 
form  of  ornament  worn  with  the  head-bow  are  the 
flat  golden  plates,  which  are  engraved  with  a  quaint 
pattern,  in  which  the  absence  of  straight  or  parallel 
lines  may  be  noted.     Such   forms  of  embellishment 

would  be  against  tradi- 
tional custom,  and  would 
consequently  be  rejected. 

The  gold  plates 
often  worn  by  theii 
owners  during  their  daily 
occupations,  as  is  shown 
in  the  illustration  of  the 
girl  cleaning  a  milk-churn. 
The  more  elaborate  gauds  are  not  so  degraded.  How 
ornate  these  are  may  be  seen  from  the  four  illustra- 
tions showing  Dutch  girls  wearing  their  complete  g  i 
head-gears.     These  are  all  taken  from  Zeeland  r 


t 


? 


HOOD      \M>     I10NNET     PINS 

<14 


Peasant  Jewellery  of  Holland 


It  in. iv  be  noted  that  the  forms  of  the  bonnets  and 
of  the  metal  ornaments  exhibit  wide  variations,  which 
might  he  indefinitely  multiplied,  for  every  little  town 


rich  Frisian  woman,  with  its  metal-work  and  jewels, 
may  cost  as  much  as  3,000  or  4,000  guilders,  an 
equivalent  to  about  ,{.-50  nr  ,^..300.     It  must  no 


CORAl      CHAIN     WITH     LOCK      AND     CENTRE-PIECE     01     GOLD 


has  its  distinctive  type  of  adornment.  Thus  in  one 
neighbourhood  spirals  and  penders  are  worn,  and  the 
lock  of  the  neck-chain  fastens  under  the  chin.  In 
another  the  lock  of  the  neck-chain  fastens  at  the 
back,  and  different  ornaments  are  substituted.  The 
traditional  patterns  belonging  to  each  village  are 
strictly  adhered  to,  so  that   in  the  course  of  a  few 


thought,  however,  that  diamonds  are  the  only  sti 
set    in    bonnet  -  pins,    as    the    latter    are    of   endless 
variety,  and  nearly  every  kind   of  stone  is  used   ii 
their  adornment.     In  mourning  dark  stones  are  used, 
as   is    instanced    in    the    third   example   in   the 
illustrated. 

Less  intimately  connected  with  the  bonnets  are  tin: 


l  .1  II  M-,\     I  I  ICK     l  'I 
I'LATl       \M> 
I'HREADWOI 


EAR  I 

one  may  come  across  endless  varieties  of  jewi  I 
lery  all  retaining  the  same  main  characteristics  "I 
material  and  workmanship,  hut  widely  different  in 
their  detail. 

Before  leaving  the  subject  ol  bonnets,  one  must 
draw  attention  to  the  bonnet-pins,  which,  though  worn 
nominally  with  tin-  idea  ol  securing  the  hi  ad  ;e  ir,  an 
often  .on',,  M'd  into  costly  objects  ol  adornment. 
The)  are  frequently  ornaments  with  diamonds  ol  not 
too  modest  a  character.     Thus  the  lace  bonnel  ol 


EARRING 

earrings,  n   n  ;old  or  silver,  and  not  unl 

i  with  gems.     These  are  often  charming  exai 
of  dainty  and  elaborate  craftsmanship.     Other  articles 
on   which    the   jew.  Her  lavishes   his   skill 

and   centre-pieces   to  the    coral    nei  k  irn    in 

distrii  ts  ol    I  [olland   and  Zeeland.     Thi 
terning  ol  these  is  endless  in  its  variety,  and 

:  ire  of  grea 

■  Irs  which  come  specifically  under  the  i 
jewellery,  there  are  inarr 


OUS     LOCKS     FOR     CORA)      NECK-CHAINS 


SILVER     WATCH-CHAIN     WITH     KEYS     AND     PENDERS 


96 


CIGAR-i    \-i:,     CORA!      PURSE,      \Mi     \1\\-     PURSE 


BUCK1.1         l i 


'."-'■'* 


EXAC1      SIZE 


"7 


The   Connoisseur 


■&vm 


nature  which  are  wrought  with  equal  ornateness  and 
elaboration  of  workmanship.     One  of  these  is  shown 


EARRINGS 

in  the  silver  case  for  knitting-needles,  an  article  which 
might  with  advantage  occupy  the  attention  of  English 


in  a  similar  style,  though  not  so  elaborately,  is  intended 
for  the  use  of  the  sterner  sex;  as  also,  of  course,  is  the 
cigar-case. 

Other  masculine  adornments  which  vie  in  interest 
with  the  jewels  of  their  feminine  compatriots  are  the 


1  [NKKI>     BUTTONS 

trouser  buckles,  and  the  well-known  Zeeland  button, 
which  is  worn  all  over  Holland,  and  also  in  other 
countries,  as  a  fancy  article.  It  was  originally  designed 
to  fix  the  men's  neck-cloths  to  their  shirts.  These 
buttons  are  wrought  in  endless  variety.    A  very  quaint 


SILVER     CASE     FOR     KNITTING-NEEDLES 

metal-workers,  as  one  would  think  that  there  ought 
to  be  a  great  demand  for  it. 

The  purses  and  cigar-case  illustrated  are  also  utili- 
tarian in  their  purpose.  The  top  purse — coral,  with  a 
silver  spring — isa  lady's,  but  the  leather  one,  mounted 


item  is  the  silver  watch  -  chain,  of  a  type  worn  by 
peasants  in  various  districts.  Attached  to  it  are  a 
couple  of  watch-keys  and  a  couple  of  penders,  the 
flat  ends  of  the  latter  affording  room  for  the  engraving 
of  the  name  and  the  initials  of  the  owner. 


M  I    I  \1.     1:1  CKI  E 


[Photographs    Underwood   and    Underwood] 


9S 


- 


S. 

a:    z 

5  I 


The  Editor  invites  the  assistance  of  readers  of  THE  CONNOISSEUR  who  may  be  able  to  impart  the  information  required  by  Correspondents. 


Unidentified  Miniature  (No.  181). 
1  (ear  Sir, — I  should  be  glad  to  hear  whether  any 
of  your    readers  can 
identify    the    subject    of 
the   miniature,  photo  of 
which    I    send   to   you. 
It  is  signed  with  initials 
( ;.  E.,  and  experts  have 
pronounced  it  to  be  the 
work  of  George   Engel- 
heart,  period  about  1780. 
The   modelling   of  the 
head  is  superb,  and  quite 
in    the  artist's   most 
characteristic  vein. 
\  ours  faithfully, 
"  Ptolemy." 

Unidentified   1'or- 

1  rait  (No.  182  i. 
1  (ear  Sir, — I  have  in 
my  pi  issession  (at  Nor- 
wich) an  old  oil-painting, 
which  I  have  enclosed  a 
snapshot  of — not  a  verv 

one   of   it  either. 

>u  think  there  is  any 
who  or  what  it  is  ?  It  is  in  a  gi  n  id  state  of  preservation, 
except  a  small  hole  in  the  canvas. 
visible  on  the  enclosed.  I  might 
say  that  tin-  eyes  and  lips  are 
beautifully  done,  and  the  bloom 
of  youth  is — to  me  —  quite 
natural ;  the  hair  is  dark.  The 
style  <>l  coat  and  neckwear  is 
plainly  visible  on  the  canvas. 

\  ours  truly,   "  Enqi  irer." 


Unidentified  Silhoi  i 
(Al  '.1  ST,  ujra). 

hi  \i-  Sir, — In  consequence 
of  the  request  in  The  (  ONNi 
seur  ot  August,  19T4  (Notes, 
page  259),  I  have  the  honour  to 
inform  you  that  I  inherited  from 
an  old  lady-friend  silhouettes  of 


(1S1) 


probability  of  finding  out         letter,  sent  in  answer  to 


the  same  period,  in  the  same  style,  and  just  the  same 
subjects,  so  more  than  probably  cut  out  by  the  verv 

same   artist.      I    found 
them  in  a  "k   in 

which    she   hersell   had 
written  down  in  I  hitch  : 
"Em  losi  d  1  uttings 
were  made    in    1844   by 
Wilhelm     Mulli 
I  )usseldi  irf.with  a  pair  ot 
quite  ordinal 
just   while    he  xvas  talk- 
ing."     In  the  His  ' 
Silhouettes,  by  E.  Nevill 
Jackson,  M  u  1 1  er  is.  at 
page  105,  announi 
Muller  Wilhelm(i) 
Yours  sincerely, 

I.    I ■'.    M.  Si  ERCK 

1 1,1,11  len 


HaM'U  R]  1   II   \     I'nK- 

1  raits  (April,  1915  |. 

The   editor   of    The 

Freemason    has    lor- 

«  a  rded  the  following 

rex  iew  of  the  above  note 


CMIiKN  I  I  F I  K I  >     MINI  X  I  ORE 


which  appeared   in   our   issue   for  April: — 

"  To  the  Editoroj  '  The  Freemason.' 
"  The  article  on  '  Handwritten 
Portraits    in  your  issue   1  if  1  ;th 
April,    1 11 1  5,   is    ful  1  of  inl- 
Thirty  years  ago  I   had  a  1 
1  il   the   portrait   of  the    1  >uki 
Sussex  in  caligraph)   to  which 
reference   is   made,  and   it    noxx 
hangs  on  the  walls   of  the  ante- 
Mi  to   the   Leii 
masons   I  [all.      ["here  is  also  in 
thi    1  er  Masonii    Ha 

Library  a  prit  the 

duk'  phical  sketi  h,  which 

.  key  to  the  portrait  :  it  xvas 
written  by  the  engraver,  I..  1  '.luck 
Rosi  inted  at  Brigh- 

ton in  184(1. —  I.  T.  T." 


unidentified  poi 
101 


The  fine  specimen  of  an  Etruscan  vase  which  we 

reproduce  belongs  to  the  Marquess  of  Northampton, 

having   been   brought  from  Italy  by 

Spencer,  the  second  Marquess  (1700- 
htruscan  Vase       '  .... 

1851).     The  subject  with  which  the 

vase  is  decorated  represents  a  foot-race,  the  winner 

being  just  about  to  pass  the  post.     About  the  sixth 

century   B.C.   numbers  of 

dreek  vases  appear  to 

have  been  imported  into 

Etruria,    some    of   which 

were  imitated  by   the 

Etruscans,  but  others  were 

more   probably  made  by 

Greek    settlers.     The 

native    productions    were 

generally   marked   by  a 

quaint  archaic  touch 

which  is  quite  lacking  in 

Greek  pottery  of  the  best 

period^.    The  shapes,  too, 

are  frequently  clumsy, 

although  the  piece  under 

mention  can  scarcely  be 

included  in  this  category. 

Lowestoft  Teapot 

I  AM  sending  you  a 
photo  ol  a  typical  soft- 
paste  Lowestoft  teapot 
(Redgreave  pattern,  red, 
blue,  and  gold  decora- 
tion) which  was  lately 
given  me  by  my  mother, 
Mrs.  George  Ives,  the 
Manor  House,  Wickmere, 
Norfolk.  My  mother,  who 
has  been  a  collector  all 
her   life,    is  now  nearly 


A     FINK    ETRUSCAN     \  \M 


ninety  years  of  age.  She  received  it  from  her  uncle. 
Major  Marsh,  who  fought  under  the  Duke  of  Welling- 
ton in  the  Peninsula.  He  received  it  from  the  Ke\. 
Mr.  Marsh,  rector  of  many  livings  in  Norfolk.  From 
his  old  pocket-books  it  was  interesting  to  learn  that  he- 
paid  Mr.  Nelson — Lord  Nelson's  father — ^52  per 
annum  for  preaching  for  him.     The  Rev.  Mr.  Marsh 

also  had  a  Lowestoft  tea 
sen  ice  made  for  himself 
with  his  monogram  on  it. 
A  few  pieces  are  still  in 
existence. — Phil.  Ive - 
(Toronto,  Canada). 

Old  English  Cut-GIass 

Our  decorative  arts 
made  a  great  advance  on 
the  accession  of  William 
and  Mary,  who  brought 
with  them  some  famous 
refugee  French  artists — 
glass-making  among  the 
rest.  It  did  not,  however, 
reach  its  zenith  till  well 
on  in  the  second  half  of 
the  eighteenth  century. 
Hitherto  the  art  side  of 
glass  manufacture  had 
been  practically  confined 
to  drinking  vessels.  A 
new  ingredient  (lead)  be- 
ing added  to  its  magma, 
wonderfully  improved 
both  us  colour  and  re- 
fraction, surpassing  in 
these  qualities  the  glass 
of  Bohemia  and  Venice, 
and  enabling  far  more  am- 
bitious articles  —  dishes, 


Notes 


bowls,  covered  jars,  lustres,  and  candelabra — to  be 
sui  cessfully  produced.  The  enhanced  refraction  was 
taken  the  fullest  advantage  of  by  our  manufacturers, 
then  becoming  enterpris- 
ing, who  devised  a  form 
of  decoration  which  dis- 
played  this  quality  of  the 
new  -lass  t  o  perfection. 
A  process  of  casting  the 
glass  in  mou  1  ds  was  in- 
vented, instead  of  blowing 
it  as  hitherto,  which  per- 
mitted classic  forms  ol 
bowls,  vases,  etc.,  to  be 
produced  with  precision 
and  solidity.  On  these 
intersecting  lines  were 
deeply  cut  diagonally, anil 
the  surfaces  worked  up 
into  series  of  pointed 
prisms,  since  known  as 
••diamond  cut,"  each  refracting  light  like  groups  of 
well-ordered  crystals.  This  decoration  yielded  the 
maximum  richness  of  effect,  and  for  a  time  almost 
superseded  every  other.    The  larger  bowls  and  covered 


LOWEST!  >l   I       I  E  U'<  'I 


Mi-  of  classical  outline  were  mounted  on  square-cut 
plinths.  To  produce  them  the  manufacturers  of  the 
day  had  to  introduce  machinery  and  power  to  drive 

the  wheels  which  cut  far 
^  b  more  deeply  into  the  gl 

than  before  but  the  de- 
mand amply  compen- 
sated for  this.  Old  spi 
mens  are  much  sous  I 
alter,  especially  as  the 
peculiar  quality  and  tone 
of  the  genuine  article  can- 
not even  now  be  exactly 
reproduced. 

The  superb  pair  illus- 
trated are  of  very  unusual 
si/e,  17  J  i  nches  h  igh. 
They  are  in  the  well- 
known  collection  of  the 
1  lowager  Duchess  of  Wel- 
lington, and  are  probably 
unique.  Perhaps  more  dainty  in  design  are  the  glass 
candelabra  or  lustres  from  the  same  collection,  prob- 
ably based  more  01  less  on  the  earlier  French  11 
Italian  rock-crystal  originals.    An  apparently  facsimile 


1  ..  .[   1         CARVED      IARS    OF     C1J  N.IN'F 

103 


The    Connoisseur 


pair  to  one  of  these  is  shown  in  a  recently  published 
book  on  an  Isaac  Ware  chimney-piece,  date  about 
1750,  a  date  possibly  assigned  to  the  lustres.  A 
second  pair,  in  which  the  branches  spring  from  richly 
C  ut  f  1  a  s  k- 
shaped  vases, 
are  of  uncom- 
mon design.  It 
is  to  be  re- 
gretted  that  no 

museum  pos- 
sesses a  collec- 
tion of  the  fine 
English  cut- 
glass  of  the 
second  half  of 
the  eighteenth 
cent  u  iv. — 
J.  Star  k  i  e 
(  Gardner. 

An  Ivory 
Powder-Flask 

The  two  pic- 
tures given  of  cut-glass 
the  original  in  my  collection  are  taken  from  an  ex- 
quisite specimen  of  a  sixteenth-century  primer,  or 
powder-flask,  an  article  very  essential  to  the  equipment 
oi  a  sportsman  or  soldier  of  the  period;  its  use  was 
lur  the  charging  the  flash-pan  and  touch-hole  of  the 
gun  or  musket  in  the  days  of  the  flint  and  wheel-locks. 
This  ivory  flask  is  elaborately  carved  on  back  and 
front,  while  the 
edge  has  carv- 
ings in  bold 
reliefrepresent- 
ing  dogs  and 
animals  of  the 
chase.  It  has 
lost  the  two 
small  r  i  1 1  g  s 
from  the  sides 
through  which 
would  pass  the 
cord  form  i  ng 
the  sling  worn 
o v e  r  the 
shoulder  of  the 
sportsman  ;  it 
is  otherwise 
quite  perfect,  even  to  the  stopple.  On  the  obverse 
is  a  portrait,  in  profile,  of  Franciscus  II.,  with  the 
name  on  a  scroll  above.  The  arms  of  France  on  a 
shield  occupy  the  reverse  of  the  flask.     An  additional 


CANDELABRA 


CUT-GLASS     CANDELABRA 


interest  attaches  to  the  article  from  tin-  fact  that  Francis, 
as  Dauphin  of  France  in  1558,  became  the  first  hus- 
band of  our  Mary  Stuart,  Queen  of  Scots.  From  the 
beauty  of  the  carving  and  the  portrait,  it  is  more  than 

probable  that 
the  primer  was 
once  tin.'  pro- 
perty of  Francis 
himself.      W.B. 

Redfern. 

"The  Battle 
of  the 
Nations  " 

I  T  will  at 
once  incur  to 
the  reader  that 
thi  s,  m  11 tat 1 s 
mutandis,  is  the 
kind  11I  Xnvs 
Bill  .or  Extra 
w  h  i  c  h  w  e 
should  like  to 
find  posted  all 
over  Lull  dun 
in  the  year  of  grace  1915.  At  any  rate,  we  could 
scarcely  hope  for  anything  more  decisive. 

The  Leipzig  campaign  (Oct.  16th  to  iSth,  1813), 
perhaps  the  most  sanguinary  in  the  Napoleonic  wars, 
marks  the  end  of  the  "  First  Empire,''  to  which  the 
"  Hundred  Days,''  terminated  by  Waterloo,  forms  a 
supplementary  and,  as  it  were,  accidental  episode.      A 

feature  of  pre- 
sent interest  is 
the  defection  of 
the  Prussian 
contingent 
(f  r  o  m  the 
"Grand  Army" 
of  1812),  the 
begin  n  ing  of 
that  organisa- 
tion of  Russo- 
Prussian  mili- 
tarism which 
so  largely  in- 
fluenced the  re- 
sult. Even  after 

Leipzig  there- 
was  a  pause  in 
the  operations  (partly  in  fear  of  pushing  Napoleon  to 
extremes)  when  Blucher  and  the  "young  German" 
party  spurred  on  the  Allies  to  the  action  which  ended 
in  the  successful  advance  on  Paris  (.March  31st,  1814). 


1  04 


Notes 


,       POWDER-FLASK 


•  >!;'.  ERSE      \M>     REVERSE 


Two  Famous 
Mansions 


Of  all  the  memories  which  haunt  Hardwick  Hall, 
that  of  Elizabeth,  Countess  of  Shrewsbury,  may  well 
be  the  most   poignant.     Before   her 
marriage  with  Sir  William  Cavendish, 
this   lady  had  been  Mrs.  Barley,  net 
Hardwick,  daughter  of  John  Hardwick,  whose  family 
lived    in   an   older  edifice  close  beside  the  present 
building.     On  her  espousals,  however,  the  estate  was 
granted  as  a  portion  of  her  dower,   and  eventually 
passed  to  her  second  son.  Sir  William  Cavendish,  K.  1!.. 
who  was  created  Earl  of  Devonshire  in  1618.     The 
Countess,  who   possessed   an  extraordinary  taste   foi 
building,  and  has  left  her  sign-manual  on  many  por- 
tions of  Hardwick  in   the  form  of  her  initials    E.  S. 
surmounted  by  a  coronet,  w.is  tin-  subject  ofa  curious 
tradition    which    has     been     preserved    by    Walpole. 
According  to  him.  this  lady  was  warned  by  .1  sooth- 
sayer that  "her  death  should  not  happen  while  she 
continued  building  ;  and  accordingly  she   employed 
a  great  deal  of  wealth  in  that  way,  yet  died  in  a  hard 
frost,  when  the  workmen  could  not  labor. 

Not  the  least  item  of  historical  interest  attaching  to 
Hardwick  lies  in  tin-  fai  1  tli.a  Mary  Queen  ol  Scots 
spent  some  of  her  captivity  in  its  spacious  halls.    The 


si/.e  and  altitude  of  the  interior   do   not  come  as  so 
much   of  a   surprise   after   one   has   reflected   on   the 
glories  of  Chatsworth  and  Oldcotes,  both  of  whii  b 
due  to  the  same  "  Bess  of  Hardwick."     Walpole.  with 
the  aspirations    ..t"   Strawberry    Hill  Gothic  clinging 
about  him,  scarcely  bit  the  mark   in  bis  Anecdoi 
Painting  when  be  -aid:    "Space  ami  vastness  sei 
to   have    made   their  whole  ideas   of  grandeur.      The 
palaces  of  the  memorable  Countess  of  Shrewsbury  are 
exactly  in   this   style.      The  apartments  are   lofty  and 
enormous,  and   they  knew  not   how   to   furnish   them. 
Pictures,  bad  they  had  good  ones,  would  have  been 
lost  in  chambers  of  such  height  ;  tapestry,  their  chief 
moveable,  was  not  commonly  perfect   enough  to  be 
real  magnificence.      Fretted   ceilings,  graceful  mould- 
ing- of  windows,  and  painted  glass,  the  ornamei 
the  prei  eding  age,  were  fallen  into  disuse.       Immense 
li-hts  1  omposed  ol    bad  glass,  in  diamond  pane-. 

an  air  of  poverty  over  their  most  costly  apartments. 
That  .it  Hardwick.  still  preserved  .1-  it  w.i-  furnished 

tor  the  reception   and    imprisonment  of  the  Qui 
Scots,    i-   a    curious    picture    of    that    age   and    style. 
Nothing  can  exceed  the  '1  <>i  state, 

in   the    hangings   m    the   same   chamber,   and  of  the 


>5 


The    Connoisseur 


~ 


f 


Atirt  a  faanl  a 
.  ,000  llirn. 


it^'iliuaij  .l^lbll,    wfaich  Lffllirrir.1  (of 

M(()\U  BATTLE! 


coverings  for  the  ta- 
bles. The  first  is  cloth 

of  gold,  cloth  of  silver, 
velvets  of  different 
colors,  lace  fringes, 
and  embroidery.  The 
hangings  consist  of 
figures,  large  as  life, 
representing  the  vir- 
tues and  vices,  em- 
broidered on  grounds 
of  white  and  black 
velvet.  The  cloths 
cast  over  the  tables 
are  embroidered,  and 
embossed  with  gold 
on  velvet  and  dam- 
asks. The  only  mi  ive- 
ables  of  any  taste  are 
the  cabinets  and 
tables  themselves, 
carved  in  oak.  The 
chimneys  are  wide 
enough  for  a  hall  or 
kitchen,  and  over  the 
arras  are  frieze  of 
many  feet  deep,  with 
miserable  relievos  in 
stucco  representing 
hunting.  Here,  and 
in  all  the  great  man- 
sions of  that  age,  is  a 
gallery  remarkable 
only  fur  its  extent." 
So  thought  Walpole ; 
but  then  his  mind  was 
t<  k  i  full  i  if  the  architec- 
tural futilities  of  his 
own  age  to  appreciate 
the  more  virile  qualities  of  the  Elizabethan  style.  The 
gallery  to  which  he  refers  is  195  feet  in  length. 

Eridge  Castle,  Sussex,  the  contents  of  which  have- 
already  been  dealt  with  in  The  Connoisseur,  stands 
on  the  site  of  an  ancient  manor,  which  was  brought 
into  the  family  of  the  present  owner  by  the  marriage 
of  Sir  Edward  Nevill  (d.  1476)  with  the  Lady  Eliza- 
beth Beauchamp.  only  child  of  Richard,  Earl  of 
Worcester  and  Lord  Bergavenny.  In  1573  Queen 
Elizabeth  staved  for  six  days  at  the  house,  and 
during  that  period  gave  an  audience  to  the  French 
ambassador.  Whilst  visiting  Eridge  in  1606,  Dudley, 
Lord  North,  accidentally  discovered  the  properties  of 
the  now  famous  waters  of  Tunbridge  Wells.  Ulti- 
mately the  condition  of  the  old  mansion  became  so 


TIJIKNDV.    '  :i.lll\   MM.  O'CLOCK 


■lionupar/e  defeated  in  Person  !  <>(>  Generals  Killed 
or  Prisoners !  The  King  of  Sa.com)  and  all  his 
Court  taken  Prisoners  !  LEIPSIC  taken  by  Storm  ! 
The  Total  Loss  of  the  Ptkiich  Anri>,,*'&ZMQQ  Men 
and  1 80  Pieces  of  Cannon  ! 

-  .--. -.--v.,^-,o-Anu*e*^*"-' ■-■—  -•■ 

K  t)ISpATCUK$        ■  1  .■'!„'  ico-ii'i-d  by  \'  ;'i     ,„.,, 

1    I      u  ■■■-,    Uctufx-r  19,    L-:vint'iU-Jc(u.l-  ot  j     jinpln    wit :*-v-. 
■  ■  ■•■  I):- ■  C  onibiitcd   \iMir-  i.fSwhrrhi  ..   -  :,  ,  .  •  ■•„■  \onU  ui' Germany,  n,.-r  [! 

ufaoad  otLa\me,  m<  the  i-iii  , 

'■  (Ice  huniirn)  yii.--.  iJcainwft,   uxli  ffuxuawl  UI.-.I.   wounded.  Mil  Wfaown      ticwfi    : 
b    i:   .  -rtm  -ifn.l  H"n(i.:iiil».-fi,'  u.tnp,,    cua*i*tinr  of  'cavalry,  artUfeiy and 
nt'aic  Itrgaia,    Vula/y,  ni-    Beitrindj    and  Labrbloo,  m«i 

'    IIOLj  1I.1v. 

rniifi  nfihe  I'Jib,   (*ip«le  was  taken  by  storm,  trill)  InttKinjrofSriuny,    m/A 
'.     nfld  KHr-gllnn]  of  ill"  trail  li   ,f:u.     airJ    30,000  ivOMfufa  I ; — U      . 
..     I        ..,:!■■,.    psXc«{  uinc o'clock;  Iht-  Alh.^  mrqjngatW.-vci,  ,    1L1:    Frt-eh    Vi 
.  irtrie   toi-r  ijie  in  ii(!  Jin:  :,  ,lt,. 
"  IM  ifltih  bo  n  >'i  Ibc  Uaralcltn  left  id,   n,  \gtilh,mlni  -I  of  Lapac,    35,0Cr\n\',- ne--.  h  n]  been 
liul  lilt  OflJci.il  UutjpHiol  Ik-rhnoi  <to  ShA  tAt  .-..   ISO  pitc  sof cannon  lobave  I) 


1 


■ 


Mm  louiltl  and  &niliiH 

•■0,i!,    IGtft,  (vivT.l  tj'v^v.Th.uIiitt.icLnl  far 4 1I1,  (iib.aad  7ih  corps   ..f  [h,'  Ftaidt  ' 
■■  i;m1  a  mil  ;■  ,.l  boifcricy-ttlcik  forty  pKc  -  ui    citrtnon— out  me 
iv- !  a  I  i.u.;TWci.i,i  i..iei?j;,d»oUIt«VrV 
1  have  been  mhjrcd  uu  Ufa  .'illli 
TI:e  K  ■•      '  nwry— t  Otttm  m  .1  1  li  ir»;  Iw3ed  bv  ■'. 

FIRM    li\TTLK.  AMI  DKH  *  f  OF    (HI.  I 


KkNC'Ii  f! 

1    _!!!-  V'. 


TSKlwHlc,  btSffolfewuida/lstlttfti  i,  lr»sH|u9[U  1V.I!  canlfttrf ..■..'  I.U.-K     DuKl 
BiMipori      ..  .1:    Riug  tltroagh *p omtrjof  lbs   ir  :-k- or  *,  Iu;-i:/..mi..   .      ,■ 

Jjgnpih.'  whole  o(  Uu  cavalry,  uuder  Mural.      tli-AIL^  ih~n  biqij^fat*utithi:ii  r»=rvo 
Qj:n^c  bock  upon  th.«  |].-ii«Mrcaccapicil  IkIur.-  'j    picrci]  i;,.-  I'm,,     t>l    vAwi 


V    rewstanfe  lookill.y   i.irm,    with  3QIJ0U    pti    ■, 

^•■'">,    &-.-I    &■<■.      Tlau,   in  tlxir.lai.,     B<;i.  i|.irti- 

riuoM  loaltloirLc  ..uttaiiu-iHti  Mn'  s^-»l-  s[»ci<M  limal^-Btr- 


I 


'J'ttetltl  -M,  nndbirttiari.ii-.  r.  i«  nn'.'.t  1.1  ,.J,t  „(  ae!l-olb  .. 

1    U   11  i,-.-.     On  tli-  l"th,  (lu_ni.ej.irel  1...   th-«n.r     1     , 

"ii     rUfflD  RVTll-E.  AND  DEFEAT  BVITLPW  KO.\\P\RTE 

:■  \::^,  inv..>*,;.\l-,<.u,>\,{„u:-<dtiUJ  r|(c.    •  Coiru  Prinfee 

.    h,."i  ftuclief,  BMt  the  rrn^'otM.^rtrt/.-H!*^,  a^licbcd   feonapn;T-;  hi    .'1    hi*    i^1:f-      He  foaib* 

ibtcrniiimlMA,  II^llfspenlitHi,  that  a  mauin.ij*  beWrrrwa^d  j,.  !,,«•,  .Ui.jT*  iliat  lm  Crowa 

leiKttl*  un<.ii  lb-.-  t=-ut  jI  lii.  ■   ■        '       I'      I  -   ubMii,a._/,  (iKlati  ■>-.  Lis    :.i!i,"HLr  ■  uuavjifio*. 

It.-  \*j»  tJrt"val»\l  withlhc  lro<rf.ibqut  4p,00(^mcir,  iu  I  nearly  SO  lri(««  ufouunw. 

Wiih^H  giving tli^tueiuy  a  rt.n'.  rw(Hlc,    ifcJjJJka  advaua;d  (0    Lctpnc    the  day  alfcf    IS:- 
,,  uid  jlti-r  a  aunt  b!t«^ty  *-: 
1  n  r  ot  cannon,  am  munition  wajjgi 
reduced  oue-balf|  n  miirr  rapid  »'iJ   uj0 
*n  ImcaUniiloui  i-arniijJiru  vn  I{ii;iia.4.- 

Lou  on  lb.-  Ifilb,  by  -■«¥    

ISffi,   byttON'.ffiiftTJSiii  nWn       ....... 

Ombel'Jtb,  imbcMorm.iiH-o'fL  ii»ic     

. 

fforfl  I.ti|'.;c.    [t-ciapanc  jilrtnplrtl  to  re!j.  j1.  I 
1      .      :      :  »*,  Irodj  oiU|,a-Jbv  Ufa ctnqiKTOo   '   !(.■  .-  11 
witb  iht:  «vrtck  and  .-eiif  1.111 1  <A    hii  Army,    took  (ru- road  *oBariJ-.   t 

60m  hit  ie«>urc»  and  \xi\  reinpKCCwicnU.  Tbo  Allin  war  in  purafi  □:  liiin  n.n!  :.'•-■: 
*tn,,l,  t>.  L'*j».n^lwfft-,J»di»6ars  Mid  defeat.  May  V-  uim  rr*Ut  0po.1h.mV  ma  -,  „  ,1  ' 
■  St;'-i\  Ui     I  ina>  v*  I'i^hi'-'ec  it  uere.  ' 

<>t  "    '  '   an  either  ?ide  we   haw  no  detail*!  keftnnt.     Mactfcrcitd,  Soubara,  and 

yonbl^n-.k!       c  t  3  Mb  prisoners.     Kcymer,  La.n.sn.n,  .Jift(rjjid.  Vatar\-,  and  Bmraa     killed.     The 
^Kiog  of  Sa*(iity  i.s."  been  nstucd&om  tue-TynutH  >■  -' .c,  a-itb  all  L  a  Coflrt, 

^11  the StcdMu ,Md  Bftv4ri.-ui9,  ami    Wmd-iubu:,-   Uaops  camtfoib  I  Bo  apaihVnar« 

rov.lv  cicwed,  liea^dlhcaidpaictwglionrscjllvb.'ibrclbe  Ulics.cnrccT!  tl 

The  Pa^iwa'tV.^,  i--,.     n^n  :.  ,  Ringing,   nnd  1.1.  1 

/- 


ANNOUNCING    THE 
THE     BATTLE 


dilapidated  that  it  was 
demolished,  and  the 
present  "castle  "  built 
on  its  site  during  the 
latter  part  of  the  eigh- 
teenth century.  A 
portion  of  the  old 
structure,  however, 
was  included  in  the 
new  edifice.  The 
"castle"  itself  is 
rather  a  nondescript 
erection,  but  typical 
of  the  returning  taste 
for  the  Gothic  styles 
— a  revival  which  was 
as  yet  undeveloped, 
and  in  a  state  of  archi- 
tectural infancy. — 
Latham  Burton. 

Our  Plates 

The  A/pin?  Travel- 
ler, mezzotinted  by 
James  Ward  from  the 
picture  by  James 
Northcote,  R.A.,  is  a 
somewhat  rare  print 
which  is  not  often 
found  in  colour.  It 
was  published  by 
John  Jeffryes  in  1S04 
from  a  picture  paint- 
ed by  Northcote  in 
1801,  and  exhibited 
at  the  Royal  Academy 
in  the  following  year 
under  the  title  of 
Portrait  of  a  Lady 
Passing  the  Alps.  The  lady  was  Miss  St.  Clair,  an 
actress.  Feeding  Chickens,  by  P.  W.  Tomkins,  after 
J.  Russell,  is  a  delicate  example  of  the  "polite" 
rural  subjects  which  were  thought  so  highly  of  by 
contemporary  connoisseurs.  That  their  selection  has 
not  been  over-ridden  by  modem  choice  is  an  eloquent 
compliment  to  the  charm  of  the  eighteenth-century 
engravers,  through  the  medium  of  whose  work  so 
many  fine  pictures  of  the  English  school  have  been 
preserved  to  posterity. 

With  the  exception  of  Wildman's/'<"//v;//<)/y.  M.  II'. 
Turner,  R.A.,  which  is  dealt  with  in  a  special  note, 
and  the  splendid  specimen  of  an  Italian  seventeenth- 
century  altar-cloth,  with  its  delicate  colouring,  the 
remainder  of  our  plates  are  selected  from  the  famous 


'..     liOOfl 



„-    :  >.0U'J 

S--.089 

111 

oif.  HBBQhAP" 


DEFEAT     ol 
OF     LEIPZIG 


Bl  IN  IPARTE    AT 


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107 


The    Connoisseur 


Althorp  collection,  which  is  owned  by  the  Earl 
Spencer.  The  very  interesting  portrait  of  Marv  Qium 
<>/  Scots,  by  Janet,  is  dealt  with  in  Mr.  Blaikie  Mur- 
doch's article  on  "Early  Stuart  Portraits"  in  the 
present  issue.  The  portrait  of  David  Garrick,  by 
John  Zoffany,  R.A.,  represents  the  great  actor  gazing 
at  a  medallion  bearing  Shakespeare's  head  on  it,  and 
shows  the  artist  in  a  very  good  aspect  of  his  work. 
The  handling  is  free  and  the  likeness  a  good  one, 
whilst  the  nature  of  the  portrait  precludes  any  little 
inaccuracies  of  perspective  which  were  not  altogether 
foreign  to  Zoffany's  brush. 


The  most  interesting  of  our  plates  this  month  is 

perhaps  the  reproduction  of  the  newly-discovered  oil 

portrait  of  J.  M.  W.  Turner,  R.A., 
A  newly-  r  j 

discovered  by  Edmund  Wildman,  junior.    The 

Portrait  of  circumstances  under  which  the  por- 

J.  M.  W.  Turner,    trait  was  painted  are  not  known,  and 

R  A 

the  picture  has  not  been  mentioned 

by  any  of  the  biographers  of  the  artist.  It  was  bought 
recently  by  a  private  collector  on  its  merits  as  a 
picture  and  submitted  to  Mr.  Algernon  Graves,  F.S.A., 
the  well-known  expert,  for  identification.  He  at  once 
recognised  it  as  a  portrait  of  Turner.  The  picture- 
had  on  the  back  a  partially  covered  label  on  the 
lower  part  of  which  was  inscribed,  in  contemporary 
handwriting,  "  Painted  by  Edmund  Wildman,  junior, 
1837."  On  the  upper  part  of  this  label  being  uncovered, 
Ci  >n  oboration  of  Mr.  Graves's  identification  was  found, 
the  remainder  of  the  inscription  giving  the  name  of 
the  sitter  as  J.  M.  W.  Turner,  R.A.  It  is  interesting 
to  recall,  apropos  of  Mr.  Graves's  identification,  that 
he  is  among  the  few  survivors  of  those  who  came  into 
actual  contact  with  the  great  painter.  Turner  was 
accustomed  to  visit  Mr.  Henry  Graves,  the  father  of 
Mr.  Algernon  Graves,  and  many  times  dandled  the 
latter,  when  a  baby,  on  his  knee,  a  fact  which  shows 
that  the  artist  was  by  no  means  the  misanthrope  he 
had  the  reputation  of  being.  The  only  portrait  for 
which  Turner  is  known  to  have  given  a  sitting  is  the 
pencil  drawing  of  him,  as  a  young  man,  by  G.  Dance, 
now  in  the  possession  of  the  Royal  Academy.  Many 
sketches  were  taken  of  him  surreptitiously,  but  he 
disliked  this  practice  and  did  his  best  to  hinder  his 
would-be  portraitists.  As  most  of  the  likenesses  of 
him  drawn  in  this  way  are  decidedly  unflattering  and 
frequently  verge  on  caricature,  his  distaste  for  them 
can  be  well  understood. 

The  strong  characterisation  of  VVildman's  portrait 
and  the  well-studied  rendering  of  the  physiognomy  of 
the  sitter  afford  practically  indisputable  evidence  that 
the  picture  was  painted  from  life.     Where  and  under 


what  circumstances  it  was  painted  must  at  present  be 
left  to  conjecture.  There  were  two  artists  of  the  name 
of  Wildman,  who,  from  the  circumstance  that  one 
appended  junior  to  his  name,  were  probably  father 
and  son.  The  elder  of  the  two  was  John  R.  Wildman, 
who  contributed  domestic  scenes  and  portraits  to 
various  London  exhibitions  between  the  years  1S23 
and  1839.  Nothing  is  apparently  known  about  him 
except  what  can  be  gleaned  from  the  catalogues 
containing  the  record  of  his  exhibited  works.  He 
contributed  an  oil  picture  of  a  namesake — C.  H. 
Turner,  Esq. — of  the  great  landscape  painter  to  the 
Royal  Academy  of  1838,  but  as  Turner  was  not  on 
terms  of  intimacy  with  his  relatives,  and  none  of  the 
latter  appear  to  have  possessed  the  initials  "  C.  H.," 
the  coincidence  of  surnames  is  probably  only  fortui- 
tous. A  feasible  conjecture  is  that  as  the  Wildmans 
in  1823  were  living  at  Poplar  (and  had  probably  been 
living  there  for  some  time),  not  far  from  Blackwall 
l'ier,  from  where  one  of  the  most  striking  views  of  the 
Thames  is  to  be  obtained,  Turner  may  have  come 
in  touch  with  them  during  some  of  his  sketching 
expeditions.  He  often  showed  a  disposition  to  assist 
young  artists,  and  may  have  sat  to  Wildman  to  give 
him  a  helping  hand,  and  then  repenting,  have  sup- 
pressed the  portrait.  Turner's  interest  in  Wildman  is 
the  more  likely,  as  he  was  obviously  a  painter  of  great 
promise.  The  portrait  is  a  fluent  and  direct  piece  of 
work,  very  good  in  its  colour,  and  more  especially  in 
its  flesh-tones.  The  likeness  of  Turner  has  been  set 
down  without  flattery  and  without  any  element  of 
caricature.  He  has  generally  been  described  by  his 
contemporaries  as  an  ugly  man,  but  the  ugliness  lay 
more  in  his  short,  stout  figure  than  his  face.  The 
latter,  if  not  handsome,  was  marked  by  strength  and 
intelligence.  The  high  forehead,  large  aquiline  nose 
and  firm,  set  mouth  could  never  have  belonged  to  a 
nonentity.  Perhaps  the  sketch  by  Sir  John  Gilbert 
most  resembles  the  Wildman  portrait,  but  the  same 
salient  points  in  the  painter's  strongly  marked  features 
are  suggested  in  every  likeness  that  has  been  made 
by  him,  though  generally  they  are  emphasised  to  the 
verge  of  caricature.  The  Wildman  picture  is  the  only 
important  oil  portrait  of  Turner  that  we  possess,  and 
the  only  one,  with  the  exception  of  the  drawing  by 
1  )ance,  for  which  he  can  be  said  to  have  given  sittings. 
It  thus  possesses  an  unique  interest,  and  it  is  to  be 
hoped  that  efforts  may  be  made  to  secure  it  for  the 
nation.  That  an  artist  like  Wildman,  who  could  paint 
a  work  of  such  sterling  merit,  should  have  been  entirely 
forgotten,  need  astonish  no  one  who  remembers  how 
the  memories  of  many  greater  painters  have  only 
been  rescued  from  oblivion  by  painstaking  investiga- 
tions on  the  part  of  the  modern  student. 


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THE   RED   CROSS    SALE  AT   CHRISTIES 


Porcelain 


THE  excitement  of  the  season  in  the  sale-room  has  been 
undoubtedly  the  remarkable  accumulation  of  antiquities 
and  objets  d'art  which  were  gathered  to- 
gether by  public  spirit  and  private  self- 
negation  to  be  dispersed  at  Messrs.  Christie,  Manson  & 
Woods  for  the  benefit  of  the  British  Red  Cross  Society 
and  the  Order  of  the  Hospital  of  St.  John  of  Jerusalem 
in  England.  The  twelve  days'  auction  opened  on  Mon- 
day, April  1 2th,  with  the  auspicious  amount  of  200  guineas 
given  for  a  beautiful  Spode  writing  set  ( 1 166  pattern)  of 
six  pieces,  painted  with  flowers  in  colours  on  a  dark  blue 
ground,  richly  gilt  with  scale  pattern,  which  had  been 
presented  by  Lady  Wernher.  A  correspondent  writing 
to  us  in  connection  with  the  Red  Cross  sale  says,  "The 
fact  that  old  Spode  was  thought  worthy  by  Messrs. 
Christie  to  lead  off  this  important  sale  speaks  for  itself, 
and  shows  how  the  value  of  this  factory's  beautiful  work, 
little  known  until  quite  lately,  has  advanced  in  the  last 
few  years."  The  second  lot,  presented  by  Mr.  T.  Can- 
non, a  Spode  tea  service,  decorated  with  lotus  in  colours 
and  gold  in  the  Chinese  taste,  and  H6-H6  birds  in  blue 
round  the  border,  consisting  of  thirty-three  pieces,  fetched 
35  gns.  An  old  Worcester  cream-jug  and  <  over,  painted 
with  exotic  birds  in  oval  panels,  with  gilt  borders  on 
mottled  dark  blue  ground,  presented  by  the  Hon.  Mrs. 
A      \<  land,   went  for  40  gns.,   whilst  an  old  Worce    < 

sugar-basin  and  cover,  painted  with  exotic  birds  il 

panels  with  gilt  borders  on  a  dark  blue  scale-pattern 
background,  from  the  same  donor,  was  knocked  down  at 
39  gns.  Turning  to  Chelsea  ware,  a  porcelain  scent 
bottle,  made  in  the  form  of  a  monkey  carrying  its  young 
in  a  pannier,  the  gift  of  Mr.  A.  Weil,  fetched  40  gns.  A 
Chelsea  figure  of  "Justice"  on  a  red,  green,  and  gold 
scroll  plinth,  13J  in.  high,  was  sold  for  50  gns.,  the 
highest  bid  being  made  by  Mis.  Coutts  -  Michie,  the 
donor.  A  pair  of  Derby-Chelsea  figures  on  gilt  scroll 
plinths,  10  in.  high  in  all,  entitled  "The  Sailor  and  his 
La  .  brought  33  gns.  They  were  presented  by  Mrs. 
Clement  Parsons.  Amongst  the  continental  porci 
the  new  Baron  de  Rothschild's  Sevres  ecuelle,  with 
co  1  and  stand,  painted  with  rosebuds  in  circular 
medallions  and  knots  of  blue  riband  in  gold  bin 
fetched  150  gns.;  whilst  350gn     wa        fen  for  Sir  Geoi 


Donaldson's  set  of  three  Sevres  hard-paste  pore 
vases,  two  of  them  with  covers,  decorated  with  .1 
bleu  ground  richly  gilt  with  branches  of  oak  foliage  and 
bulrushes,  and  each  vase  finely  painted  with  military 
scenes  and  trophies  in  two  oval  medallions,  the  handles 
modelled  as  foliage  issuing  into  formal  strap-work,  and 
the  gilding  by  Henri  Prevost,  17.1  in.  and  [8  in.  high. 

On   the    fourth  day  of  the   sale,   which  occurred    on 
April  15th,  the  Oriental  porcelain  came  under  auction. 
Mr.  P.  L.  Agnew's  pair  of  Nankin  oviform  jars  and  co  1 
painted  with  flower  sprays  in  blue  lambrequin  boi 
with  scrolls  reserved  in  white,  Si  in.  high,  were  knocked 
down  at  50  gns.  ;  Mr.  A.  Wertheimei  -   pah   <>l  Chinese 
famille-rose    figures   of    deities,    with    richly   enamelled 
robes,  Kien-lung  period,  mounted  on  ormolu  plinth     "I 
Louis  XV.  design,   11  in.  high,   |;    gns.  ;   Mr.  G.   Eui 
fopoulos's    Chinese  stoneware   fish-bowl,   creamy   gla 
decorated  in   relievo   with  hunting  scenes.    15  in.   high, 
20J-  in.  diameter,  probably  Sung  dynasty,  .;"  gns.     This 

piece  was  exhibited  at  the  Victoria  and  Albert  Musi  

111  1  < >  1  1-12,  and  at  Manchester  in  1913. 

On  April  2  1st  a  further  selection  of  porcelain  was  put 
up,  when  Mr.  John  Walter's  Berlin  tea  and  coffi 
painted  with  landscapes,  etc.,   brought  100  gns. 

Till     large  collection  of  drawings  ami  paintings  which 

were  dispersed  on  the  fifth  day  oi  tin-  Red  Cross  sale, 

April  (6th,  was  remarkably  interesting 
Drawings  and  .-     ,  .,'  , 

_  ,      ,    °  on   account   ol    showing    the    appeal   <>t 

raintings  ,  ,  ,.    .  .,., 

art  to  the  public  111  w  n    I  me.      I  he  nrsl 

of  a  series  "i  works  by  the  late  Jam<     i!  rock,  < '//  the 

Nith,    1899,  in   oils,  31  J    in.   by  49J    in.,  presented    b)   Sil 

\Y.  II.  Lever,  let,  he, 1  75  gns.     The  same  donoi  -  Hilly 
Lands,  in.  by  9  in.,  by  J.  M.  W.Turner,  realised 

|o  gns      Capt.  II.  I     Butlei   \  View  in  Rouen,  si  in.  by 
4  in.,  b)  Birket  Fosti  .  ;  and  Mr.  O.  Gutekunst's 

Turner,    Sunset  on  ///<■   Sea,    7-J  in.  by  u>i   in.,   85  gns. 
The  la  1  med  lot  was  sui    1  ■ .  the  first  <>i  the 

■■  empl      ii  .hi"  -,"  w  hen   Mi     Muirhi 

te  a   pen,  'I  ,li  ,iv,  .1.   ,   1  by  8  in.,  ol 

,:.    architectural  subject  in  I  ondon  to  the  order  of  the 
highest  bidder,  who  exciti       til  was 

,  aused  when  the  two  "  frame      to  bi   filli  d  h  th  cha 


The    Connoisseur 


portraits  by  Mr.  I.  S.  Sargent  were  put  up.  The  first, 
the  sight  measurement  being  24  in.  by  19  in.,  fell  to 
Mr.  Charles  for  500  gns. .  whilst  the  second,  of  the  same 
dimensions,  was  secured  by  Mr.  Wythes  for  650  gns. 
Mr.  Charles  Sims's  Figure  Piece,  28|  in.  by  21  in.,  was 
knocked  down  at  70  gns.  ;  a  21  in.  by  29  in.  drawing  by 
Sir  John  Millais,  representing  an  Attack  on  Kenilworth 
Castle,  which  had  been  presented  by  the  artist  to  the 
donor,  Major-General  A.  R.  Lempriere,  for  having  posed 
as  the  model  in  The  Huguenot,  22  gns.  ;  a  red  chalk  ot 
a  Female  Head,  154  in.  by  11]  in.,  presented  by  the 
executors  of  the  artist,  the  late  Sir  E.  Burne-Jones, 
22  gns.  ;  Mr.  \V.  Lockett  Agnew's  Ostend Canal,  Bruges, 
20J  in.  by  31J  in.,  by  J.  B.  Crome,  50  gns.  :  and.-/ 
Fores!  Glade,  29  in.  by  21 J  in.,  by  P.  Wilson  Steer, 
75  gns.  Another  "empty  frame,"  this  time  to  be  filled 
by  P.  A.  de  Laszlo,  fell  to  Sir  F.  Trippel  for  750  gns., 
the  sight  measurement  being  35  in.  by  27  in.,  whilst  the 
same  artist's  Portrait  of  Madame  Marthe  Lettelier,  1914. 
realised  160  gns.  Three  portraits  "yet  to  be"  followed 
at  short  intervals.  That  presented  by  Mr.  Gerald  Festus 
Kelly  brought  150  gns.  (sight  measurement  32^  in.  by 
26  in.) ;  that  by  Mr.  A.  E.  John,  210  gns.  (sight  measure- 
ment 23J  in.  by  19J  in.)  ;  that  by  Mr.  William  Orpen, 
460  gns.  (sight  measurement  42  in.  by  32J  in.,  Mrs. 
Fleming)  ;  that  by  Mrs.  S.  E.  Waller,  100  gns.  (sight 
measurement  28  in.  by  23  in.,  Lady  Levinge)  :  and  that 
by  Sir  James  Guthrie,  420  gns.  (sight  measurement  29  in. 
by  23  in. ).  In  the  Orchard,  1914,  by  E.  A.  Hornel,  29J  in. 
by  245  in.,  sold  for  60  gns.  ;  Miss  Stimpson's  Cavalier  of 
the  Time  of  Louis  XIII.,  by  Meissonier,  on  a  panel, 
7i  in.  by  3!  in.,  from  the  artist's  sale,  100  gns.  ;  The 
Invaders,  27  in.  by  35*  in.,  by  Tom  Mostyn,  ;o  gns.  ; 
Glencoe,  18  in.  by  22J  in.,  by  D.  V.  Cameron,  130  gns.  ; 
The  Monastery  from  St.  Bernardino's  Cell,  Assisi,  by 
Sir  W.  B.  Richmond,  on  a  panel,  27J  in.  by  151  in., 
2(1  gns.  ;  and  Sir  Luke  Fildes's  Marietta,  191 5,  25  in. 
by  19  in.,  105  gns.  Mrs.  Barlow  made  the  highest  bid 
of  240  gns.  for  the  Hon.  John  Collier's  blank  canvas  of 
45  in.  by  43  in.  1  sight  measurement ),  whilst  400  gns.  was 
paid  for  that  by  John  Lavery,  ^3  in.  by  26J  in.,  under  the 
same  measurement.  Some  subject  and  other  pictures 
followed  close  on  Mrs.  Barlow's  acquisition.  A  14J  in. 
by  29  in.  painting  of  Destroyer  versus  Submarine,  by 
W.  I..  Wyllie,  fetched  ^50;  Mr.  S.  Wilson's  gift  of  Com- 
ing Events,  by  G.  A.  Storey,  23J  in.  by  19J  in.,  which 
was  exhibited  at  the  Royal  Academy  in  1895,  63  gns.. 
and  the  same  donor's  La  Boucherie,  22J  in.  by  31]  in., 
by  H.  Le  Sidanier,  58  gns.  ;  Sir  W.  H.  Houldsworth's 
In  a  Cottage  Garden,  or  the  Sawing-Horse,  45  in.  by 
34 j  in.,  by  H.  H.  La  Thangue,  exhibited  at  the  Royal 
Academy  in  1S96,  110  gns.  ;  and  Le  Mort  de  Napoleon, 
by  R.  Steuben,  which  was  presented  by  Millicent, 
Duchess  of  Sutherland,  55  gns.  This  picture,  which 
measures  3c4  in.  by  jSh  in.,  was  in  the  collection  of  the 
Princess  Murat,  who  bequeathed  it  to  Lady  Murat.  A 
framed  key,  together  with  a  small  framed  print  by 
Lerouge,  were  sold  with  the  painting.  For  50  gns.  Philip 
Connard's  prospective  portrait,  sight  measurement  24  in. 
by  20  in.,  went  to  Mrs.    Shoebacher,   and  Mr.  Warner 


gained  that  by  H.  G.  Riviere,  sight  measurement  25  in. 
by  21  in.,  for  130  gns.  Mr.  Joicey  secured  for  20  gns.  W. 
Cunningham  Hector's  "empty  frame"  of29j  in.  by  243  in. 
sight  measurement,  whilst  Sir  Guy  Francis  Laking  paid 
105  gns.  for  one  of  25 1  in.  by  2ii  in.  sight  measurement, 
to  be  executed  by  N.  Cambier.  Mr.  A.  S.  Cope  had 
presented  his  painting  (225  in.  by  19  in.  of  Miranda, 
101  5,  which  was  knocked  down  at  50  gns.  ;  Mr.  George 
J.  Coates's  29J  in.  by  19J  in.  subject  of  A  Spanish 
Dancer,  130  gns.  ;  and  J.  Pettie's  The  Ransom,  210  gns. 
This  picture,  which  was  presented  by  Mr.  Arthur  C. 
Armitage,  and  measured  42  in.  by  59  in.,  was  exhibited 
at  the  Royal  Academy  exhibition  in  1883.  The  last  lot 
on  the  day's  programme  was  Poissons  d'At'rii,  a  three- 
leaf  screen,  70  in.  high  by  75  in.  wide,  decorated  in  the 
Japanese  taste,  on  a  gold  ground,  by  Miss  Maud  Earl, 
the  donor.     The  highest  bid  made  for  it  was  85  gns. 

Amongst  the  modern  drawings  on  April  19th  a  pastel, 
20J  in.  by  192  in.,  feunesse,  by  Mdlle.  Lorenzetto,  the 
donor,  brought  66  gns.,  and  Bernard  Partridge's  original 
Punch  cartoon  of  The  Excursionist,  26  gns.  A  portrait 
head  of  H.R.  H.  the  Prince  of  Wales,  February  iSth, 
1904,  by  the  late  E.  A.  Abbey,  R.A.,  fetched  42  gns. 
This  work,  which  is  executed  in  pastel  on  toned  paper, 
and  measures  14  in.  by  ioi  in.,  was  a  study  for  the 
artist's  Coronation  of  King  Edward  VII.,  and  has  been 
autographed  by  the  Prince. 

On  the  seventh  day  of  the  sale  some  miniatures  were 
put  to  auction,  and  one  of  The  Hon.  Mrs.  Hervey,  by 
John  Smart,  1767,  signed  with  initials  and  dated,  set  in 
a  gold  ring,  in  shagreen  case,  fetched  100  gns.  On 
April  23rd,  the  tenth  day  of  sale,  a  further  instalment  of 
pictures  and  drawings  came  under  notice.  A  Punch 
cartoon,  For  the  Wounded,  by  F.  H.  Townsend.  1915,  pre- 
sented by  Mr.  Philip  L.  Agnew,  was  eventually  knocked 
down  for  320  gns.  to  the  Hon.  A.  Stanley,  who  said 
that  he  had  bought  it  on  behalf  of  the  Red  Cross  Society 
and  the  Order  of  St.  John  of  Jerusalem  in  England,  who 
wished  to  present  it  to  the  firm  of  Christie  as  some  token 
of  recognition  for  the  work  they  were  doing.  The  gift 
was  accepted  in  appropriate  terms.  Later  in  the  day  the 
Rt.  Hon.  Laurence  Hardy's  Holy  Family,  with  St.fohn 
in  a  Landscape,  by  Titian,  21 J  in.  by  283  in.,  from  Lord 
Petre's  collection,  realised  220  gns. 

We  now  understand  that  Mr.  A.  E.  John's  "empty 
frame. "  to  the  sale  of  which  mention  has  already  been 
made  above,  is  to  enclose  a  portrait  of  the  Chancellor  of 
the  Exchequer.  1  >n  the  last  day  of  the  sale  it  was  announced 
that  Mr.  f.  S.  Sargent  had  given  out  his  intention  of 
further  benefiting  the  object  of  the  sale  by  painting  a 
portrait  in  oils  for  the  sum  of  £  10,000,  which  offer  was 
provisionally  accepted  by  the  late  Sir  Hugh  Lane. 

The  result  of  the  sixth  day's  sale,  on  April  19th,  can 

hardlv  be  described  as  productive  of  any  exciting  results. 

Amongst   the   modern   etchings.    The 

Engravings  and     Pgrtals  0f  Rheims  Cathedral,  by  Axel 

Etchings  Raig)  presented  by  Mr    ,     p    Blak6i 

was  knocked  down  at  40  gns.,  and  of  the  modern  en- 
gravings, La Surbrise, by  S.  Cousins, after C.  M.  DubufFe. 


///    the   Sale    Room 


Silver 


a  proof  before  any  letters,  brought  50  gns.  It  was  the 
gift  of  Mr.  E.  J.  Wythes.  Mr.  A.  L.  Payne's  contribution 
of  Miss  .1/./.  donald,  by  S.  Cousins,  after  Sir  T.  Lawrence, 
a  proof  before  letters,  made  35  gns.  Three  of  the  old 
engravings  realised  sums  worthy  of  mention.  They  were 
Mrs.  Cos-way,  by  V.  Green,  after  Maria  Cosway,  a  first 
state  Sir  G.  \V.  Agnew,  donor),  which  realised  65  gns.  ; 
Mr.  C.  Morland  Agnew's  Mrs.  L',tni<ii.  by  J.  R.  Smith, 
after  Sir  J.  Reynolds,  40  gns.  :  and  Miss  Curtler's  Mrs. 
Duff,  by  |.  Agar,  after  R.  Cosway,  in  colours,  42  gns. 

April  14TH,  the  third  day  of  the  Red  Cross  sale,  opened 
with  the  collection  of  silver,  which  contained  some  speci- 
mens  of  remarkable  historical  interest. 
The   gift  of  an  anonymous  donor  was 
the  pair  of  plain  circular  salt-cellars,  on  round  moulded 
feet,  engraved  on  the  rims,  "Aldn.  James  Burleigh,  to 
the   Corporation    of  Cambridge,    June,    1764''    I  weight, 
7  oz.  18  dwt.),  which  realised  25  gns.    The  Misses  Yallen- 
tin  presented  a  Queen  Anne  plain  tankard,  yh  in.  high, 
with  domed  cover  and  scroll  handle,  by  John  Ruslen,  1709 
(weight,  29  oz.  12  dwt.  i,  which  was  knocked  down  at  40 
gns.      It  should  be  noted  that  the  silver  was  sold  "all 
at."     ( Ither  lots  of  importance  were  Mr.  W.  A.   Brigg's 
George  I.  plain  oblong  tea-caddy,  by  Peter  Archambo, 
circa  1722   gross  weight,  iSoz.  7  dwt.  .  engraved  with  the 
Byron  arms,  52  gns.  ;  Mr.  Alfred  James's  three  George  I. 
plain   octagonal    casters,    7}  in.    and    5!  in.    high,    1723 
weight,  21  oz.  7  dwt.),  80  gns.  :  Sir  Ernest  Cassel's  gift 
of  three  oblong  tea-caddies,  embossed  with  shields  and 
scroll  foliage,  1766  (weight,  25  oz.  6 dwt.  .  in  silver-mounted 
shagreen  case,  which  were  re-purchased  by  him  for  140 
gns.  ;   Messrs.  Mallett's  Charles  II.  plain  porringer,  with 
shaped   sides   and   scroll   handles,    3J   in.    diam.,    1684, 
maker's  mark,  P.M.,  with  mullet  and  fleur-de-lys  below 
(weight,   5  oz.  18  dwt.),  48  gns.  ;  and  Major  F.  B.  Dal- 
rymple's  pair  of  old   Irish  silver-gilt  dishes,  by  William 
Townsend,  Dublin,  circa  1750,  mounted  on  fluted  feet  at 
a  slightly  later  date    weight,  46  oz.  9  dwt.),  42  gns.     The 
next  lot  but  one  had  a  singularly  pathetic  interest.     The 
two   Irish   potato   rings,    by  Richard  Williams,    Dublin, 
1774  (weight,  10  oz.  8  dwt.  and  8  oz.  10  dwt.  respectively), 
which  had  belonged  to  the  late  Samuel  Pepys  Cockerell, 
of  the  Royal  Flying  Corps,  and  which  had  been  given  to 
the  sale  by  his  parents,  were  purchased  by  Lord  Newland 
for  500  gns.  each.     A  Queen  Anne  plain  tankard,  with 
flat  cover,  8  in.  high,  by  Richard  Wilcocks,  Exeter.  1704 
(weight,  26  oz.   12  dwt.  .  fell  for  ,£63.      It  had  been  pre- 
sented by  Mr.  Thomas  Taylor.     Mr.  H.  J.  H.  Clements's 
George  I.  plain  shaving-dish,  by  Bowles  Nash.  1722,  and 
a  spherical  soap-box,   by  the  same,   engraved   w  ith   the 
arms  of  the  1st  Earl  of  Leitrim    weight.  33  oz.  15  dwt.  . 
brought    72  gns.;    Mrs.    Milieu's   inter'    ting    [acobean 
goblet,  with  V-shaped  bowl,  on  short  baluster  stem,  and 
circular  spreading  foot,  the  lip  engraved,  "James  Ware. 
Vintener  at  the  King's  Armes  in  Catteaton  Street,  sav'd 
out  of  the  Fire  of  London,"  3i  in.  high  (weight,  5  oz.  2  dwt.). 
62  gns.  ;  Mr.  Allied  de  Rothschild's  Elizabethan 
ware   jug,    mounted    with    silver  -  gilt    neckband,    cover 
and  foot,  the  neckband  engraved  with  scroll  folia]  1 


strap-work  borders,  the  cover  embossed  and  chased  with 
masks  and  fruit,  and  with  mermaid  thumb-piece,  the  foot 
edged  by  a  narrow  band  of  stamped  fluting.   1571.  7'  in- 
high,  maker's  mark,  a  bunch  of  grapes,   ]6ogns.  ;    Miss 
Seymour  Kerr's  plain  two-handled  cup  and  cover,  with 
gadrooned  borders  and  scroll  handles  chased  with  fol 
by  Thomas  Whipham  and  Charles  Wright,  1764.   16  in. 
weight.    92   oz.   16  dwt.),    180  gns.     This  piece   is 
engraved  with  the  arms  of  Admiral  Frankland,  to  whom 
presented  by  Elizabeth  Ffytche  in  177 1.     A  relic 
of  the  assassinated  Spencer  Perceval  was  presented  by  .1 
grand-daughter,  Mrs.  Francis  Holland.      It  consisted  of 
a  circular  soup-tureen,  cover  and  liner,  partly  fluted,  and 
with  gadrooned  borders,  the  handles  chased  as  serpents, 
1807    weight,  176  oz.  14  dwt.).     The  highest  bid  was  70 
gns.     The  Lord  d'Abemon's  gift  of  a  Turner-ware  mug. 
decorated  with  Cupid  and  Psyche  in  relief,  brown  neck, 
mounted  with  silver  lip  and   cover,   which  is  inscribed, 
"This  mug  originally  belonged  to  Lord  Viscount  Xelson, 
was  presented  to  Capt.  Mackellar  by  Sir  Thos.  Hardy. 
Bart.,"    fetched    30   gns.       The   foreign   silver   opened 
auspiciously  with  the  sum  of  135  gns.  given  for  Mr.  T.  R. 
Ker's  silver-gilt  standing  cup  and  cover,  elaborately  deco- 
rated,of  German  16th-century  work   weight.  14  117.  I  7  dwt.   ; 
Lady  Wernher's  tazza,  of  German   17th-century  origin, 
highly  ornamented,  the  stem  formed  as  a  kneeling  negro, 
9  in.   high,  8 J  in.   diam.     gross  weight,    25  oz.   8  1 
brought   52  gns.  ;  and    H.M.   Queen  Alexandra's  -  11  "I 
a  foreign  wager  cup,  formed  as  a  figure  of  a  lady,  sup- 
porting  a   cup   above   her   head.    15    in.    high     weight. 
36  oz.  7  dwt.  ,  was  knocked  down  at  140  gns. 

<  in  the  seventh  day  of  the  sale,  April  20th.  a  further 
assortment  of  silver  was  sold  "all  at."  An  anonymous 
donor  gave  an  oval  bread-basket,  pierced  with  panels  of 
trellis-work  and  diapers  divided  by  beaded  bands,  and  with 
gadroon  and  shell  borders,  1762  weight,  32  oz.  10  dwt.  . 
which  fetched  56  gns.  ;  and  the  Lord  Redesdale's  shell- 
shaped  silver-gilt  dish,  repousse  and  chased  in  the  1  entri 
with  the  choice  of  Paris,  and  with  honeysuckle  ornament 
round  the  border,  l8J  in.  wide  weight,  62  oz.  10  dwt.  . 
23  gns.  This  piece,  which  is  Italian  work  of  the  17th  cen- 
tury, came  from  the  collection  of  the  Earl  of  Ashburnham. 

THE  collection  of  jewellery  was  dispersed  on  April  13th. 

tli.-  second  da)  of  the  -ale.  hut  did  nut  realise  such  high 

prices  .is   might   have  been  anticipated 
Jewel  Icrv 

A  net  kla<  e,  oi  gold  enamel,  cop  ed  from 

the  original  in  the  London  Must-urn,  and  made  by  the 
donor,  Mr.  Felix  Joubert.  brought  £22;  an  amethyst 
bead  necklace,  with  diamond  barrel-shaped  snap,  pre- 
sented by  Mis.  Adolph  Weil,  £36;  a  brilliant  flower 
brooch  and  pendant,  presented  b)  Miss  Duffy, 
pair  (if  single  brilliant  earrings,  anonymous  donor,  /(50: 
and  a  pearl  necklace,  coi  ting  ol  t»i>  hundred  and 
thirty-three  pearls,  with  pearl  and  brilliant  clustei  snap, 
anonymous  donor,  ^160.  Tin-  Countess  Bathurst's 
brilliant  brooch,   with  a  star  and    cresci        in   brilliants 

icen  enamel  centre,  in  ordei  of  collet  brilliants  in  a 
1  il  diamond  folia  e,  \o.      It  had  I  >  1  1. 

■  nted   to  the  late  Lady  Glenesk  by  the  Sultan 


The    Connoisseur 


Hamid.  Beyond  the  following  lots  there  were  but  few 
sums  of  any  importance  realised.  Of  the  three,  Mr. 
Robert  Campbell's  pair  of  single  brilliant  earrings  was 
sold  for  ,£56;  Mrs.  Robertson's  brilliant  Maltese  cross 
pendant,  or  brooch,  .£115;  and  the  same  donor's  brilliant 
rosette  brooch,  the  centre  set  with  hair  surrounded  by 
eight  brilliants,  ,£195.  On  April  20th  a  further  instalment 
of  jewellery  came  under  the  hammer,  but  the  only  piece 
of  any  real  interest  was  that  presented  by  Lady  Jekyll,  a 
gold  thistle-shaped  seal,  set  with  an  emerald  engraved 
with  the  arms  and  cypher  of  Mary  Queen  of  Scots,  which 
vva    knocked  down  at  45  gns. 

(  )N  May  4th,  5th,  and  6th  Messrs.  Knight,  Frank  and 

Rutley  dispersed  the  stock  of  Harper's  Antique  Galleries 

(  (Ashford,    Kent)    at    their    Hanover 

r-   ,T  c   ,  Square  rooms.      The  stock  consisted 

Galleries   Sale  .  ,     , 

mainly  01  furniture,   and  the  first  lot 

to  realise  a  sum  of  any  importance  was  a  walnut  and 
ebonised  cabinet,  with  boldly  carved  masks,  festooned 
columns,  acanthus  leaf  and  fluted  borders,  the  upper  part 
fitted  with  numerous  drawers,  with  Venetian  glass  panels 
engraved  in  classical  and  sporting  subjects,  with  mirror 
bai  ks,  a  cupboard  in  centre  enclosing  a  shrine  of  inlaid 
ivory,  with  small  side  drawers,  a  cupboard  with  shelf 
below,  S  ft.  high,  5  ft.  6  in.  wide,  which  fetched  .£30.  This 
elaborate  piece  was  presented  to  Lord  Napier  and  Ettrick 
when  Ambassador  at  Berlin.  A  Georgian  inlaid  maho- 
gany circular  dining  table,  with  gadroon  border,  on  carved 
supports  and  underframe,  5  ft.  diam.,  with  eight  extra 
parts,  enlarging  to  5  ft.  8  in.  and  6  ft.  4  in.  diam.,  brought 
£}j  1  2s.  ;  a  set  of  12  Chippendale  mahogany  dining-room 
chairs,  ,£45  ;  a  Hepplewhite  inlaid  mahogany  break-front 
bookcase,  with  trellis  glazed  doors,  cupboards  under,  and 
panelled  doors  with  festooned  decoration,  on  fluted  legs, 
scroll  and  vase  ornamented  cornice,  9  ft.  6  in.  high,  8  ft. 
wide,  ,£86  2s.  ;  an  Adam  mahogany  sideboard,  with 
pedestals  and  knife  urns,  carved  in  rams'  heads,  husk 
festoons,  classic  vases,  lion  masks,  etc.,  on  lion-claw  feet, 
the  pedestals  fitted  with  drawers,  cupboard,  and  cellarette, 
10  ft.  6  in.  wide,  from  Gilling  Castle,  Yorks.,  ,£210;  and 
a  Chippendale  gilt  w-all  mirror,  carved  in  scrolls,  foliage, 
birds,  shells,  etc.,  5  ft.  6  in.  high,  3  ft.  6  in.  wide,  ,£52  10s. 
Later  on,  a  Georgian  mahogany  bookcase,  with  trellis 
glazed  doors,  rounded  ends,  carved  cornice,  fluted 
columns,  and  six  drawers  below  with  brass  drop  handles, 

8  ft.  6  in.  wide,  8  ft.  high,  realised  ,£30 ;  whilst  another, 
with  break-front  and  panelled  doors  below  the  trellis 
glazed  ones,  dentil  cornice,    with  swan-neck  pediment, 

9  ft.  4  in.  high,  9  ft.  wide,  was  knocked  down  for  ^31  10s. 

On    April  30th  and  May   1st  a  collection    of  various 
properties   and    effects  was   dispersed  at    Mr.    Dowell's 

rooms,  iS,  George  Street,  Edinburgh, 
An   Edinburgh  ,  .    ,   j  . 

_   ,         &  when  an  antique  crystal  decanter,  in 

Art  Sale  ■  ,   '     , 

morocco  case,  said  to  have  belonged 

to  Mary  Queen  of  Scots,  realised  £29  8s.,  and  a  lock 
of  Queen  Mary's  hair,  £13.     This  was  "part  of  a  larger 


lock  which  was  in  the  possession  of  Lord  Belhaven  and 
Stenton  at  Wishaw  House.  Lord  Belhaven  bequeathed 
the  cabinet  with  the  lock  of  hair  to  the  late  Queen 
Victoria,  and  this  cabinet  and  the  hair  in  it  is  in  Windsor 
Castle  corridor.  The  hair  for  sale  has  been  in  the  pos- 
session of  the  present  owner  for  fifty  years."  Amongst 
the  furniture  an  old  draught  screen  of  six  leaves,  finely 
decorated  in  the  Chinese  taste,  fetched  ,£52  10s.,  and  six 
old  Queen  Anne  walnut  chairs,  with  shaped  backs  and 
cabriole  legs,  earned  with  shell  and  floral  scroll  design, 
claw-and-ball  feet,  £72  9s.  Amongst  the  china,  a  choice 
Worcester  dessert  service,  with  painted  flower  centres, 
gros-bleu  and  buff  bands,  decorated  in  gold,  36  pieces, 
brought  ,£30  ;  and  a  Leeds  tea  and  coffee  set,  with 
finely  painted  flower  panels  of  marine  shells  on  cerise- 
coloured  ground,  gilt  edges,  78  pieces,  ,£25  4s.  Not  the 
least  interesting  part  of  the  sale  consisted  in  the  col- 
lection of  jewellery  belonging  to  the  estate  of  Lady 
Menzies.  The  highest  bid  was  ,£221  lis.,  given  for  a 
magnificent  diamond  scroll  leaf  and  spray  necklace,  with 
seven  large  colleted  sprays  pendant.  Other  prices  were 
,£81  for  a  magnificent  cluster  bracelet,  of  large  sapphire 
and  diamond  alternate  collet  and  trefoil  border,  with 
four  brilliants  on  shoulders ;  £40  for  an  elegant  diamond 
five-leaf  flower  brooch  :  and  .£38  for  a  gold  snake  neck- 
lace, with  beautifully  enamelled  head  mounted  with 
diamonds,  and  particularly  fine  and  large  rose-cut 
sapphire. 

At  a  sale  of  decorative  furniture,  etc.,  from  various 
properties,  which  was  held  by  Messrs.  Knight,  Frank  and 
Rutley  at  their  rooms  on  April  16th, 
a  Chippendale  inlaid,  carved,  mahog- 
any, shaped-front  cabinet,  2  ft.  7  in. 
wide  by  6  ft.  high,  the  upper  part  fitted  with  a  cupboard, 
enclosed  by  a  pair  of  doors  inlaid  with  mother-o'-pearl, 
and  the  centre  fitted  with  small  drawers  and  pigeon-holes, 
draw-out  slide  in  centre  and  four  drawers  below,  realised 
/S4;  and  a  Louis  XVI.  carved  gilt  frame  settee,  the  seat 
and  back  in  needlework,  6  ft.  wide,  fetched  ,£18  18s. 
Both  these  pieces  formed  part  of  the  Shannon  heirlooms, 
and  were  sold  by  order  of  the  executrix  of  the  late  Coun- 
tess. The  property  of  a  nobleman  were  a  Louis  XVI. 
writing  table,  on  fluted  taper  legs,  with  richly  chased 
ormolu  mounts,  fitted  with  six  drawers,  6  ft.  6  in.  wide, 
which  was  knocked  down  for  .£441  ;  an  old  French  par- 
queterie  commode  of  two  long  and  three  small  drawers, 
on  cabriole  legs,  with  chased  ormolu  mounts  and  handles 
and  marble  top,  4  ft.  3  in.  wide,  signed  P.  Roussel, 
.£378  ;  an  antique  parqueterie  commode  of  four  drawers, 
with  shaped  front,  ormolu  mounts  and  handles,  4  ft.  3  in. 
wide,  .£100;  and  a  Chippendale  oblong-shape  table, 
with  cluster  column  stretcher  and  legs,  2  ft.  9  in.  long, 
£7$.  At  the  same  sale  a  William  and  Mary  walnut- 
frame  armchair,  in  needlework,  brought  the  sum  of 
,£45  ;  and  a  full-length  Portrait  of  a  Lady,  with  land- 
scape background,  80  in.  by  44  in-,  of  the  school  of 
Reynolds,   fetched  ,£65  2s. 


The  Shannon 
Sale 


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Mr.  and  Mrs.  Joseph  Pennell's  volume  on  Litho- 
rapkers — the  first,  qf  the  new  "  Graphic 
Art-,  Series" — is  likely  to  be  attract ivc 
to  collectors.  The  79  illustrations, 
1  i  11  occupying  (though  not  always 
filling  a  page  12  in.  by  8  in.,  would 
alone  suffice  to  make  the  book  worth 
buying,  while  the  letterpress  1  overs 
,i  more  extended  field  than  any  other 
work  on  the  subject.  The  book  as 
a  whole  is  somewhat  disappointing. 
It  bears  signs  of  having  been  hastily  written,  and  the  con- 
tinuous carping  at  things  English,  though  not  altogether 
unjustified,  glows  rather  tiresome.  One  of  the  difficulties 
ol  writing  a  history  of  lithography  appears  to  lie  in  the 
prodigious  number  of  artists  who  have  made  essays  in 
the  medium.  Mr.  and  Mrs.  Pennell  mention  about  six 
hundred.  Of  these  some  are  great  lithographers,  ,t 
number  are   greal    artists   who   have  dabbled   in 


"  Lithography  and 
Lithographers," 
by  Joseph  Pennell 
and  E.  Robins 
Pennell.     ("The 
Graphic  Arts 
Series  " 

T.  Fisher  Unwin 
ios.  6d.   net) 


lithography,  anil  the  majority  are  men  who  have  done 
good  work  without  attaining  greatness.      Extensive 
the  record,   there  appear  to  be  one  or  two   noteworthy 
omissions,  such  as  Fran/  Kriiger,  the  battle  painter,  one  of 
the  pioneers  ofthe  art  in  Germany,  and  Kriehuber,who  per- 
formed a  similar  office  in  Austria.      The  treatment  ofthe 
artists  mentioned  is  unequal.     Oxer  five  pagi 
to  Whistler,  against  three-quarters  of  a  page  to   Fantin- 
Latour,  and  a  little  over  a  page  t<>  Menzel  :  while  someof 
the  earlier  masters,  such  as  Bonnington  and  Monnier,  arc 
accorded  only  a  paragraph,  and  many  clever  living  artist- 
have  to  be  content  with  a  bare  mention  of  their  nai 
The  preference  given  to  Whistler  is  partly  justified  on 
account   of  the   great    influence   his  work   exercised    in 
promoting  the  revival  of  lithography  in  England  :  yel  50 
much  has  been  written  about  him,  and  his  lithographs 
have  been  s.>  fully  catalogued  and  described,  that  one 
could   have  wished  the  authors  had  devoted  less 
to    his    work    and    more   to   that    of  other   masters,   now 


M 


......  2  ;3ci — — 


YOT! 


/.  hit  '.  •  -     / 


1  Ml'   >•'' '    '"     "  U    ''•'        "l'  VWING  1  HI      1") 1    :  ,        -,-   ,    AM,  ,  ,,.) 

"7 


The   C  'onnoisseur 


neglected,  but  equally  deserving  of  attention.     The  facts 
connected  with  the  invention  of  lithography  by  Senefelder, 
his  subsequent  career,  and  the  early  developments  of  the 
art,   are   fully  recorded,  and   make  interesting  reading. 
England  was  behindhand  in  the  adoption  of  lithography 
to  artistic   purposes,    a  fact   which  affords   the   authors 
opportunity  for  caustic  comment.      It   must  be  remem- 
bered, however,  that  in  England,  at  the  time,  all  methods 
of  engraving,  with  the  exception  of  etching,  had  reached 
an   exceptionally  high  standard,   and  that  consequently 
there  was  less  scope  here  for  the  new  medium  than  on 
the  Continent,  where  engraving  was  in  a  less  flourishing 
condition.     Senefelder  came  over  to  this  country  in  1800 
and  took  out  various  patents.      His  desire  appears  to 
have  been  to  exploit  the  commercial  possibilities  of  his 
invention  rather  than  the  artistic.      A  few  artists  made 
experimental  essays  in  the  medium,  then  known  under 
the  name  of  polyautography  ;  and  a  book  was  published 
in  1803  containing  examples  by  Stothard,  Fuseli,  Barry, 
Barker,  West,  and  other  well-known  painters.      In  the 
same  year — not  in   1804,   as   stated  by  Mrs.    Pennell — 
Charles  Heath  showed  "a  specimen  of  polyanthrogrphy" 
(  Hi  )  .it  the  Royal  Academy.      Little  more  artistic  work 
appeared  in  this  country  for  well  over  a  decade.     Then 
the  revival,  or,  rather,  the  real  introduction,  of  the  art  took 
place.     The  chief  instruments  in  this  were  R.  Ackermann, 
the    well-known    publisher,    and    C.    Hullmandel,    who 
became  an  accomplished  lithographer,  but  earned  more 
distinction  as  a  printer.      Mrs.  Pennell  gives  1819  as  the 
date  when  Ackermann  began  to  publish  lithographs,  but 
one,    by    Front,    appeared    in    his    Repository    in    1817. 
Ackermann    was   then    the    leading   publisher  of  winks 
illustrated   in  aquatint  ;    during    the   next   few  years  he 
began  to  introduce  lithography  in  its  stead,  and  by  1830 
the    earlier    method    was    almost    entirely    superseded. 
Among  the  earlier  English  artists  who  helped  to  popu- 
larise lithography  was  Francis  Nicholson,  a  prominent 
member  of  the  Old  Water  Colour  Society.     His  Sketches 
from  British  Scenery,  published  in  1821,  contained  eighty- 
one  large  lithographs ;  and  he  is  reputed  to  have  made 
over  700  in  the  course  of  his  career.     Though  only  a 
moderate  artist,  he  should  have  been  mentioned  as  one 
of  the  English  pioneers  of  the  art.     A  far  greater  litho- 
grapher was  J.  D.  Harding,  who  is  said  to  have  appeared 
for  the  first  time  as  a  worker  on  stone  in  Britannia  De- 
lineata,  published  in  1822;  earlier  work  by  him,  however, 
is  to  be  found  in  the  ilea's  to  illustrate  tin-  Route  of  the 
Simplon,  by  Major  J.  F.  Cockburn,  of  which  he  executed 
49  out  of  50  in  1820-21.     Apropos  of  Harding,  a  rather 
futile  attack  is  made  upon  Ruskin,  because  in  a  note  to 
his  Elements  of  Drawing,  published  in  1857,  he  warned 
his  readers  against  allowing  lithographs,  with  the  exception 
of  those  by  Prout  and  Lewis,  to  enter  their  houses.     The 
authors  ask  if  he  had   "forgotten   Harding,   his  former 
drawing  master  and  friend."    This  enquiry  and  the  accu- 
sation of  being   "foolish"  and   "amusing"  might  have 
been  justified  if  Ruskin  had  been  regarding  lithographs 
in  any  other   light   than  that  of  affording  subjects   for 
elementary  students  to  copy.    So  far  from  forgetting  Hard- 
ing, he  devotes  several  pages  of  his  book  to  an  extended 


examination  of  his  work,  which  he  highly  praises.  R.  J. 
Lane  was  another  of  the  early  lithographers  ;  he  is  singled 
out  as  being  the  "only  lithographer  ever  made  an 
Associate  of  the  Royal  Academy,"  but  as  a  matter  of 
fact  he  was  elected  on  his  merits  as  a  line  engraver. 

The   Royal  Academy  at  the  time  hardly  recognised 
lithography  as  art.      James  Ward  and  J.  J.  Chalon  were 
almost  its  only  members  who  worked  on  stone,  and  most 
of  the  best  original  work  was  produced  by  members  of 
the  Old  Water  Colour  Society.     The  medium  was  exten- 
sively employed  in  the  interests  of  art  until  well  into  the 
sixties,  when  it  became  almost  wholly  degraded  to  com- 
mercial uses.      Its  revival  commenced  about  thirty  years 
later.      Professor  Legros,  who  worked  in  lithography  as 
early  as  the  middle  of  the  nineteenth  century,  was  the 
connecting-link  between  the  two  periods;    and  Whistler, 
who  practised  in  lithography  since  1878,  was  the  forerunner 
of  the  new  movement.     Mr.  Joseph  Pennell,  as  president 
of  the  Senefelder  Club,  the  most  important  artistic  litho- 
graphic society  in  the  world,  has  done  much  to  popularise 
modern  original  lithography  in  England  and  secure  it 
official  recognition.     The  account  of  the  recent  develop- 
ments in  the  art  is  therefore  largely  the  fruit  of  personal 
knowledge.     The  chapters  on  the  technique  of  the  art, 
which  conclude  the  volume,  are  entirely  the  work  of  Mr. 
Pennell   himself.       LTnfortunately,   they   are  wanting  in 
lucidity,  and  some  of  the  statements  they  contain  appear 
to  be  contradictory.     Thus,  as  regards  the  substitution  of 
metal  plates  for  lithographic  stones,  we  are  told  on  pages 
246-247  :   "  Zinc  and  aluminium  are  extensively  used  to 
replace  the  stones,  as  they  answer  equally  well  .   .   .  The 
professional    lithographer    will    tell    you    that   a  zinc   or 
aluminium  plate  will  not  give  prints  as  good  as  those  from 
the  stone.     There  is  no  truth  in  it."     In  almost  direct 
opposition  to  this  it  is  stated  on  page  14  :   "  After  a  hun- 
dred years  of  experimenting  till  to-day,  no  such  satisfactory 
material  for  printing  from  has  been  found  as  the  Kelheim 
(i.e.  lithographic)  stone"  ;  and  on  page  250  :  "  It  is  a  fact, 
however,  that  it  is  very  much  easier,  once  the  drawing  is 
being  printed,  if  corrections  are  to  be  made,  to  make  them 
on  the  stone,  or  to  remove  work  from  stone  than  from 
metal."       Most   lithographers   believe   that    impressions 
richer  and  more  sympathetic  in  feeling  can  be  obtained 
from  stone.      Perhaps  the  best  criterion  of  the  matter  is 
that,  though  metal  plates  have  been   in  use  for  nearly  a 
hundred  years,  Mr.  Pennell  only  reproduces  a  single  litho- 
graph taken  from  one.     This  is  a  pen-and-ink  caricature 
of  The  Nightmare,  by  F.  Sandys,  a  work  that  is  character- 
ised by  practically  no  distinctively  lithographic  qualities. 

That  a  fourth  edition  of  Sir  A.  H.  Church's  book  on 
The  Chemistry  of  Paints  and  Paint- 
"The  Chemistry       ings  has  been  issued  is  a  sufficient 
of  Paints  and  proof  of  its  value.      It  is  to  be  re- 

Paintings,"  by  Sir     gretted  that  no  work  on  this  impor- 
A.  H.  Church  tant  subject  is  likely  to  attain  a  very 

(Seeley,  Service         extended  sale,   for  neither  artists 
and  Co-  nor  collectors  devote   to   it  any- 

7s,  6d.   net)  thin^  like  the  attention  ;t  deserves. 

The  former,   for  the  most  part,   are   content  to  receive 


iS 


The   Connoisseur  Bookshelf 


their  pigments  and  other 
materials  from  their 
colourman  without  in- 
quiring closely  into  their 
composition,  and  the  latter 
buy  pictures  and  drawings 
with  a  child-like  faith  in 
their  durability.  It  speaks 
well  for  the  rectitude  of 
makers  of  artists'  materi- 
als that  this  faith  is  not 
more  frequently  mis- 
placed, yet  for  every  per- 
manent but  expensive 
colour  that  is  produced  by 
reliable  firms  there  are 
countless  imitations 
placed  on  the  market, 
equally  attractive  in  ap- 
pearance, far  less  costly, 
but  also  far  less  perma- 
nent. Not  a  few  artist- 
are  taken  in  by  these,  and 
their  pictures  and  patrons 
suffer  accordingly.  But 
even  the  best  materials 
are  sub'ject  to  certain 
drawbacks,  which  require 
to  be  understood  before 
permanent  work  can  be 
produced.  Every  picture 
should  be  regarded  as  an  essay  in  chemistry 
which  are  durable    bv   themselves 


■     i    OF    ARMS   ON    BEDPOST   AT    BROI'GHTON   CHI 

I'ER  BY    PERMISSION   OF   THE 

HISTORIC   SOCIETY    OF    LANI  A-IIIRE  AND   CHESHIRE 


Pigments 
become  evanescent 
when  laid  on  in  conjunction  with  others  ;  many  which 
will  stand  a  full  north  light  fade  when  exposed  to  the 
direct  action  of  the  sun  ;  others  deteriorate  in  darkness  ; 
so  that  the  preservation  of  a  picture  or  drawing  demands 
some  knowledge  of  its  components  both  on  the  part  ot 
its  creator  and  custodian.  How  generally  lacking  this 
knowledge  has  been  in  the  past  may  be  seen  by  the 
number  of  faded  and  practically  ruined  works  contained 
in  public  and  private  collections.  Some  of  these  were 
doomed  to  destruction  from  the  moment  they  were 
painted,  but  others,  and  probably  the  majority,  might 
have  been  preserved  if  awarded  judicious  treatment. 
1'rofessor  Church's  book,  without  entering  too  techni- 
cally into  the  subject,  puts  the  essential  facts  into  an 
easily  comprehended  form.  The  chapters  on  painting 
grounds,  which  include  such  variable  materials  as  paper, 
canvas,  wood,  ivory,  etc.,  are  most  valuable.  Of  equal 
utility  are  those  on  the  mediums  used  to  convey 
colours;  while  the  tables  of  safe,  uncertain,  and  fleet- 
colours  should  be  kept  on  hand  for  reference 
by  every  artist.  The  book  goes  thoroughly  into  the 
question  of  the  preservation  of  pictures,  and  numer- 
ous simple  tests  are  given  to  determine  the  purity 
of  materials.  The  author  has  embodied  in  his  new 
edition  the  fruits  of  the  latest  research  into  the  sub- 
ject,  and  the  book  is  now  as  handy  and  as  up-to-date 
a  work  on  this  important  theme  as  can  well  be  dc 


"Juliette  Drouet's  Love 
Letters  to  Victor  Hugo," 
by  Louis  Guimbard 
Translated  by  Lady 
Theodora  Davidson 
(Stanley  Paul  &  Co. 
ios.  6d.  net) 

Juliette  Drou 
] xttos  t«  Victor  Hugo 
express  a  devotion  which 
would  be  incredible  in 
fiction  and  hardly  ever 
occurs  in  real  life.  They 
are  among  the  most  ten- 
der and  passionate  which 
have  been  penned  from 
mistress  to  lover,  and  are 
the  outcome  of  a  life 
wholly  given  up  to  a  single 
absorbing  passion.  The 
letters,  numbering  over 
fifteen  thousand,  were 
overed  by  M.  Louis 
('.uiinii.  ii.l.  a.  distinguished 
member  of  the  French 
A.i  ademy.  He  has  made 
a  judicious  selection  of 
them  for  publication,  and 
prefaced  it  with  a 
interesting  account  of 
Juliette  and  her  relations 
with  the  great  French  poet.  The  book  has  been  well 
translated  by  Lady  Theodora  Davidson,  and  the 
Iish  version  loses  little  if  any  of  the  charm  of  the 
original.  Julienne  Josephine  Gauvain,  subsequently 
known  as  Madame  Juliette  Drouet,  was  twenl 
when  she  first  met  Victor  Hugo,  who  was  four  years 
older.  This  was  in  the  spring  of  1832.  At  that  time  the 
poet  was  at  the  zenith  of  h  .  he  had  written  In- 

most famous  novel,  Notre  Damede  Paris,  in  the  pre 
year,    and  his  most  popul.tr   tragedy.    Hemani,   a  year 
earlier.     Juliette    is   described   as    a    beautiful    woi 
••  -he  shone  and  dazzled  especially  by  her  all-conquering 
air  of  youth  and  ingenuousness     .     .     .     her  smile 
movements  kept  her  still  a  girl.     Her  gait  was,  in  fact, 
-,,  fairy-like   that    her   admirers  all   make  use,   certainly 
without  collusion,  of  the  adjective  aericn. 
sented  a  perfect  image  of  calmness  and  purity."    Hugo  s 
attire  and  appearance  were  not  then  call  ulated  to  ensure 
his  social  success.      Mr  allowed  "himseli  to  be  dn 
by  his  tailor-  in  the  fashions  of  four  or  fivi  irlier  : 

his  trousers  were  firmly  braced  above  the  wa 
drawn  over  his  boots,  and  fastened  under  the 
steel  chain     .     .     .     he  was  a  worthy  citizen  desirous  oi 
being  in  the  fashion,  but  unable  to  compass  it."     They 
met   at    a   ball,    and  Juliette     -  have  been 

attracted  to  the  poet  immediately.  Si\  months  wa-  to 
elapse,  however,  before  they  again  came  into  contact, 
the  occasion  being  that  Juliette  wa-  entrusted  with  a 
minor  part  in  H  of  1  They 


no 


The    Connoisseur 


were  thrown  together  during  the  rehearsals,  and  the 
actress  appears  to  have  done  all  she  could  to  win  the 
affections  of  the  poet.  Me  reciprocated  her  sentiments, 
and  there  commenced  an  intimacy  which  was  only  ter- 
minated with  Juliette  Drouet's  death  in  1883,  when  she 
was  in  her  seventy-eighth  year.  She  wrote  to  the  poet 
whether  they  were  separated  or  in  close  companionship  ; 
and  this  accounts  for  the  prodigious  number  of  the 
original  letters.  They  breathe  a  spirit  of  warm  devotion 
and  an  almost  excessive  adulation  on  her  part,  which 
Hugo  apparently  accepted  a- his  right.  They  continue 
in  the  same  strain  throughout,  her  last  letter,  written 
shortly  before  her  death,  consisting  of  a  single  sentence  : 
"  I  do  not  know  where  I  be  this  time  next  year,  but  I 
am  proud  and  happy  to  sign  my  life-certificate  for  1S83 
with  this  one  word,  I  love  you."  Many  of  the  illustra- 
tions are  reproduced  from  Victor  Hugo's  original  draw- 
ings, which  conclusively  show  that,  had  he  had  time  and 
inclination  to  cultivate  his  talent,  he  might  have  attained 
distinction  as  an  artist. 

We  are  indebted  to  the  Rev.  W.  F.  John  Timbrell  for 

bringing  to  the  notice  of  antiquarians  four  remarkable 

carved    oak    bedposts,    which   now 

"The  Medieval        supportthewestgalleryinBroughton 

Bedposts   in  Church.    Mr. Timbrell  was  attracted 

Broughton  by  thg  evident  jntere5t  attaching  to 

Church,  Chester,"  ,,  ,■  ,  ■   ,  ,  r.        • 

'         „.    '  these  relics,  which  are  0  ft.  3  in.  in 

by  the   Rev.  W.  F.  ,    .   .  ,  ,  .,       .        J        ... 

_.     ,      ,,  height,   carved   on  the   knops  with 
)ohn  Timbrell,  ,  ,     ,        ,  •  , 

„T  .       ,  ..  coats  of  arms,   and  elsewhere  with 

M.A.     (is.  net) 

badges  and  other  ornament.      1'he 

upper  part  of  each  post  bears  the  running  vine-trail 
decoration  in  the  Gothic  style.  From  the  nature  of  the 
coats  of  arms  and  other  details,  the  author  has  evolved 
the  very  ingenious  theory  that  the  posts  formed  a  part  of 
the  nuptial  couch  of  Henry  VII.  and  Elizabeth  of  York, 
the  latter  being  descended  in  the  female  line  from  Lady 
Cicely  Neville,  whose  brother,  the  Baron  Bergavenny, 
«  as  ancestor  of  Rector  Neville  of  Hawarden,  who  placed 
the  posts  in  Broughton  Church  in  1824.  Unfortunately 
for  the  Rev.  Mr.  Timbrell's  argument,  which,  it  is  only 
fair  to  state,  is  advanced  with  some  diffidence,  although 
the  work  is  undoubtedly  English,  indications  point  to 
a  date  not  earlier  than  the  reigns  of  Henry  VIII.  or 
Edward  VI.  The  shape  of  the  shields,  moreover,  is  too 
late  for  the  date  described  by  the  author  in  the  pamphlet, 
and  for  a  royal  bedstead,  the  heraldry  displayed  is  remark- 
ably poor;  also  it  is  a  trifle  difficult  to  understand  why 
the  achievements  of  Llewelyn  Eurdorchog,  Ithyl  Felyn, 
Llowden,  and  Cynric  Efell,  not  one  of  which,  by  Mr.  Tim- 
brell's own  showing,  was  a  direct  ancestor  of  Henry  VII., 
should  be  accorded  such  prominent  positions.  The 
"spill-like  ornament''  described  is  a  very  ordinary  form 
of  moulding,  and  has  no  connection  with  the  "nigged 
staff"  badge  of  the  Nevilles.  It  is  rather  unfortunate, 
too,  that  comparison  should  be  cited  with  the  bedstead 


of  Henry  VIII.  shown  in  the  illuminated  psalter  in  the 
British  Museum,  as  this  is  distinctly  Italian  in  origin  and 
in  no  way  comparable  to  the  carved  posts  at  Broughton. 
At  all  events,  Mr.  Timbrell's  pamphlet,  with  its  illus- 
trations and  genealogical  trees,  makes  interesting  reading, 
and  is  admirable  inasmuch  as  it  assists  in  maintaining 
the  interest  of  "  kernoozing. "  Only  150  copies  of  the 
treatise,  reprinted  from  the  Transactions  of  the  Histoti 
Society  of  Lancashire  and  Cheshire,  191 4,  have  been 
produced  for  sale,  and  these  may  be  obtained  from  the 


THE  interesting  study  of  old  English  lire-marks  has 
emboldened  Mr.  Harrold  E.  Gillingham,  of  Philadelphia, 
to  publish  a  monograph  upon  those 
issued  by  the  insurance  companies  of 
America.  The  first  plate  known  to 
have  been  used  in  the  United  States 
was  that  of  the  "Philadelphia  Con- 
tributionship,"  sometimes  known  as 
the  "Hand-in-Hand"  of  Philadelphia,  which  appeared  in 
1752,  and  represented  four  hands  clasping  each  other  at 
the  wrists,  cast  in  lead,  and  fastened  on  a  shield-shaped 
wooden  board.  Two  interesting  plates,  both  of  which 
bear  representations  of  old  fire  engines,  were  those  issued 
respectively  by  "The  Fireman's  Insurance  Company  of 
Baltimore"  (organised  in  1826,  and  retired  from  business 
in  1904,  "burnt  out  by  the  great  Baltimore  conflagra- 
tion"), and  "The  Penn  Fire  Insurance  Company  of 
Pittsburgh,"  which  was  incorporated  in  1841,  and  "wiped 
out  by  the  big  fire  in  Pittsburgh,"  1845.  Reference  is 
made  to  the  obelisk  on  the  site  of  old  "Fire-proof  House" 
on  Putney  Common,  which  formed  the  subject  of  an 
illustrated  note  by  W.  F.  Maynard  in  The  Con- 
noisseur for  February,  191 4.  This  building  was 
considered  to  be  rendered  immune  from  the  devouring 
element  by  the  introduction  of  metal  plates  between 
the  floors. 


"American  Fire 
marks,"  by 
Harrold   E. 
Gillingham, 
Philadelphia 


THE  catalogue  of  Mr.  William  Ward  2.  Church  Ter- 
race,   Richmond),   the   well-known   specialist   in  Turner 

engravings,  contains  many  items  of  in- 
A   1  urner  terest  to  the  collector.     Several  original 

drawings  by  Turner  are  enumerated, 
including  The  View  on  the  Moselle,  a  fine  and  perfectly- 
preserved  specimen  of  the  artist's  "Rivers  of  France" 
period.  The  engravings  after  him  comprise  almost  the 
complete  series,  beginning  with  the  subjects  engraved 
for  such  eighteenth-century  publications  as  The  Itinerant 
and  The  Pocket  Magazine,  and  ending  up  with  plates 
executed  after  his  death.  The  separate  impressions  from 
the  Liber  Studiorum,  many  of  them  in  duplicate,  and  not 
a  few  of  them  in  rare  states,  include  practically  all  the 
subjects  engraved,  and  other  works  are  as  adequately 
represented,  while  there  are  a  number  of  original  draw- 
ing, and  sketches  bv  John  Ruskin. 


We  have  to  go  back  one  hundred  and  twenty-two  years 

to  find  a  Royal  Academy  exhibition  opened  under  similar 

conditions    to    those    now    prevailing. 

The  Royal  There  have  been  great  wars  since,  but 


Academy 
First  Notice 


the  conflict  with  France,  commenced  in 
1793  with  the  revolutionary  government 
in  power,  and  finished  in  18 15  with  the  final  fall  of  the 
Empire,  was  the  last  world-war  in  which  England  took 
a  part.  In  May,  1793,  as  m  May,  191 5,  England  was  in 
the  opening  throes  of  a  struggle  with  the  greatest  ot 
continental  powers.  Belgium  had  been  overrun  by  the 
enemy,  who  was  doing  his  utmost  to  destroy  our  trade 
and  crush  us  out  of  existence  as  a  nation.  The  odds  against 
us  were  greater.  The  nation  was  not  so  united  :  we  had 
no  powerful  colonies  to  give  us  assistance  ;  and  our 
population  was  relatively  much  smaller.  Vet  the  cata- 
logue of  the  Royal  Academy  for  1793  shows  that  the 
country  faced  its  peril  without  quailing,  and  did  not  so 
much  as  allow  the  consciousness  of  it  to  disturb  it  from 
the  production  and  patronage  of  art.  The  exhibition  was 
larger  than  that  of  the  previous  year — 856  items  against 
780.  Judging  by  the  large  number  of  portraits  included, 
commissions  were  flowing  in  as  freely  as  during  ordinary 
times.  Hoppner,  it  is  true,  in  the  sulks  at  not  yet  having 
been  elected  an  associate,  was  represented  by  only  a 
single  example.  But  Lawrence  and  Shee  with  eight  each, 
and  Russell  the  pastellist  with  twelve,  show  that  there 
was  no  lack  of  patronage.  The  tone  of  the  exhibition 
was  not  especially  war-like.  West,  the  president,  had 
two  battle  pictures,  besides  several  of  more  peaceful 
scenes,  but  their  subjects  were  taken  from  the  reign  of 
Edward  III.  Copley,  an  even  more  successful  battle 
painter,  was  illustrating  Spenser'-,  Faerie  Queen.  Serre  . 
the  marine  painter,  had  a  single  picture  of  a  naval  en 
ment — not  belonging  to  the  war  in  which  we  were  then 

engaged — and  half  a  dozen  of e  peaceful  themes.     De 

Loutherbourg  and  Gillray,  both  of  whom  were  unrepre- 
sented, were  the  most  war-like  of  the  artists,  for  at  the 
tunc  they  were  actually  at  the  front  in  the  Netherlands 
engaged  in  making  sketches. 

( )ne  has  described  the  Academy  of  1793  >n  order  to 
show  that  art  at  the  time  was  not  profoundly  affected  b\ 
the  incidence  of  the  great  war.  Many  of  the  critics  appear 
to  have  thought  that  the  present  conflict  would  have 
already  resulted  in  the  evolution  of  a  new  style  of  art. 


and  more  especially  of  a  new  form  of  battle  picture. 
This,  of  course,  has  not  been  the  ease.  The  struggle  in 
the  end  will  probably  leave  its  effects  on  the  art  of  the 
period,  but  its  influence  will  be  only  apparent  in  the  work 
of  the  younger  generation  of  artists,  and  in  all  probability 
will  only  show  itself  indirectly.  The  great  upheaval  of 
the  French  Revolution  left  English  art  in  very  much  the 
same  condition  that  it  found  it.  One  hesitates  to  set 
down  to  it  even  the  evolution  in  landscape  which  was 
brought  about  by  the  genius  of  Constable  and  Turner. 
Their  work  was  rather  a  corollary  of  what  had  gone  before 
than  a  distinct  breaking  away  from  old  traditions.  And 
so,  too,  with  the  present  upheaval.  The  painters  who 
have  gone  to  the  front  may  bring  back  a  vi\  id  impression 
of  the  realities  of  war,  but  it  is  unlikely  that  they  will  be 
able  to  represent  it  on  canvas  any  differently  to  what  has 
already  been  done.  Verestchagin  has  pictured  its  horrors 
with  as  much  realism  as  art  permits  ;  to  go  beyond  him 
and  yet  be  convincing"  would  necessitate  the  services  of 
the  photographer  rather  than  of  the  painter.  We  may 
expect  art  to  share  in  the  purification  which  the  country 
is  undergoing  by  passing  through  the  refining  fire  of  trial 
and  sorrow.  It  will  be  inspired  b\  the  same  traditions 
as  before,  but  will  be  greater  because  marked  by  more 
nobility  of  purpose  and  •  oi  utterance. 

As  a  whole  the  Academ; under  the  description 

of  an  average  exhibition.      Important  works  are  fewei 
than  usual,  and  the  walls  are  less  crowded.      Yet,  if  am 
thing,  there  is  an  improvement  in  the  general  standard. 
I  here  is,  as  usual,  an  undue  preponderance  of  portraits, 
though  some  of  the  latter  are  amon  1    I  works  in 

the  exhibition.  Tho  e  ol  Fohn  \faddocks,  Esq.,  J.P.,  by 
Mr.  II.  II.  La  Thangue,  R.A.,  and  Joseph  Shaw,  Esq., 
K.C.,  by  Solomon  |.  Solomon,  K.A.,  followed  more 
or  less  on  conventional   lines.     Both  are  good  without 

pecially  interesting.     The  latter  failing  cam 
alleged  against  Mr.  John  S.                    presentment  of 
/•'.   //.   Jenkinson,   Esq.,  Librarian  /<•  tin-   Unh'ers 
ridge,   for  whether  his  work   repels  or  attra 
always   succeeds   in   arousing    the    spectator's   attention. 
One  would  fancy  thai   Mr.  Sargenl  has  somewhat 
fixed  the  1  omph  ■■  on  ol  I       litter  to  picto              1  ncies, 
is  its  pallor  appears  unnatural!                              The  end 
in  this  instance  justifies  the  mean.,   foi   though  limited 
almo  t    to   ni. mo.  In al 1  t    lh< 


1  :r  1 


The    Connoisseur 


most  striking  of  tin-  artist's  long  series  of  great  portraits. 
Mr.  Sargent  is  indisputably  a  master  of  portraiture,  for 
in  this  metier  his  realism  and  lack  of  romantic  feeling 
never  offend.  With  other  themes  this  is  not  always  the 
case  :  a  notable  instance  is  in  his  wonderfully  painted 
landscape  entitled  Master  and  I'' it  pi  Is.  In  this  there  is 
shown  a  beautiful  woodland  glade  such  as  fairies  might 
delight  to  haunt,  the  stones  and  greenery  in  the  fore- 
ground, patched  with  sunlight,  and  the  darker  fir  trees 
behind,  combining  to  form  a  natural  beauty-spot.  Mr. 
Sargent  has  chosen  to  set  in  the  midst  of  it  a  group  of 
amateurs  with  easels  and  other  paraphernalia,  which  at 
once  vulgarises  the  whole  scene.  He  has  a  fondness 
for  this  sort  of  thing,  which  is  to  be  regretted.  As  our 
most  brilliant  painter  of  nature,  it  is  to  be  hoped  that 
lie  will  cease  to  regard  it  as  a  background  for  groups 
of  artistic  tourists.  Before  leaving  the  subject  of  Mr. 
Sargent's  work,  one  may  congratulate  him  on  it  being- 
carried  forward  to  a  greater  degree  of  completion  than 
usual.  Often  his  pictures  are  presented  in  the  guise  of 
brilliant  sketches.  This  year,  while  his  brushwork  is 
no  less  fluent,  his  sense  of  colour  and  sunlight  no  less 
vivid,  he  has  fully  recorded  his  impressions  instead  of 
leaving  them  as  half-expressed  suggestions. 

Going  back  to  portraiture,  one  may  note  Mr.  Harold 
Speed's  dignified  presentment  of  Sir  Frederick  T. 
Edridge  and  Mr.  H.  J.  Draper's  posthumous  likeness 
of  Tlie  late  Lieut.-Gen.  Sir  //"  E.  Franklyn.  It  is  to 
be  regretted  that  Mr.  Frank  Dicksee,  R.A.,  appears 
to  have  permanently  joined  the  ranks  of  the  portrait 
painters.  He  still  retains  much  of  his  old  pictorial 
manner,  and  in  his  fondness  for  rich  draperies  and  acces- 
sories reveals  his  earlier  training  as  a  genre  painter. 
His  Mrs.  Pretyman  -  Newman,  painted  in  his  usual 
highly  finished  manner,  makes  an  attractive  picture, 
and  the  same  may  be  said  of  his  portraits  of  Miss  Ethel 
Dicksee  and  Mrs.  James  Simpson.  Of  these  the  portrait 
of  Miss  Dicksee  is  perhaps  the  most  completely  satisfy- 
ing ;  gracefully  posed  and  marked  by  refined  yet  rich 
colour,  it  gives  a  pleasing  and  individual  rendering  of 
the  sitter.  Another  artist  who  also  devotes  much  at- 
tention to  the  environment  of  his  sitters  is  Mr.  Arthur 
Hacker,  R.A.  His  portrait  of  Miss  Elaine  Barron  is 
a  well-composed  colour  arrangement,  in  which  blue, 
white,  and  old  gold  formed  the  leading  notes.  In  both 
this  and  his  portrait  of  Miss  Darley  the  artist  had  at- 
tained great  purity  in  his  flesh-tones.  Mr.  J.  J.  Shannon, 
R.A.,  appeals  more  especially  by  the  painter-like 
qualities  of  his  pictures.  His  brushwork  is  broad, 
fluent,  and  always  significant.  These  characteristics 
were  shown  in  both  his  portraits  of  Mrs.  Usher  and 
Mrs.  Phipps.  Of  these  the  former  was  a  little  un- 
sympathetic in  its  rendering  ;  but  either  picture  ranked 
among  the  best  in  the  exhibition.  It  is  to  be  hoped 
that  Mr.  Orpen,  like  so  many  artists  who  have  shown 
high  capabilities  for  other  forms  of  art,  will  not  become 
wholly  absorbed  in  portraiture.  His  three  examples 
are  all  in  this  metier,  and,  good  as  they  are,  they  do  not 
wholly  reconcile  one  to  such  a  limitation  of  his  powers. 
The  trio  are  distinguished  bv  the  use  in  each  case  of  a 


plain  black  background.  This  is  a  practice  not  to  be 
indiscriminately  followed,  for  it  is  apt  to  lessen  the 
interest  of  a  picture  and  make  the  figure  stand  out  from  its 
surroundings  like  a  piece  of  cut-out  paper.  Mr.  Orpen, 
however,  has  imparted  quality  and  atmosphere  to  his 
blacks,  and  the  figures  appear  to  merge  in  them  rather 
than  protrude  obtrusively  forward.  The  Miss  Lily  Car- 
stairs,  somewhat  thinly  painted,  was  a  delightful  expression 
of  delicate  colour,  and  the  Marchioness  of  Headfort,  rather 
stronger  in  its  tone,  was  even  more  delightful. 

Turning  aside  from  the  portraits,  Mr.  Arnesby  Broun\ 
Church  is  overmuch  of  a  sketch  for  an  Academy  exhi- 
bition, which  is  supposed  to  be  limited  to  finished  pictures. 
His  Rain  Cloud  is  vigorous  and  adequate,  but  best  of  all 
is  his  large  canvas  of  The  Hide  Marshes,  representing  a 
group  of  cattle   standing  in  a  wide,  open  field  under  a 
storm-laden  sky.     One  might  urge  that  this  shows  little 
variation  to  former  works  of  the  artist  ;  that  it  presents 
an  artistic  problem   for  solution   which   he  has  already 
successfully  solved.      Such  criticism,  however,  would  not 
be  sound,  for,  as  Constable  and  many  of  the  older  masters 
have  proved,  it  does  not  signify  how  often  an  artist  essays 
similar  themes  so  long  as  he  can  bring  to  each  the  same 
inspiration  and  freshness  of  feeling.     This  Mr.  Arnesby 
Brown  has  done.     The  Wide  Marshes  is  the  most  simple 
of  the  series,  the  broadest  and  most  convincing.     The 
Shadow  and  Shower,  Aberfoyle,  shows  Mr.  David  Murray 
back  among  his  Scotch  themes.     It  is  a  realisation  of  wet, 
silvery  sunshine  lighting   up   a    bracken  -  covered  brae, 
tender  in  tone  and  marked  by  reticence  and  refinement 
of  colour.      His  Day  in  October,   Venice,  is  full  of  bright 
colour  without  being  garish,  while  his  ///  a  Studio  gives 
a  very   characteristic   portrait  of  the  artist  engaged   in 
work.      Mr.  Fred  Appleyard's  Secret,  a  mystical  picture 
showing  a  child  in  an  old  abbey  garden  imparting  some 
confidence  to  her  mother,  with  angels  on  either  side  the 
pair,  is  aggravating  because  over-enigmatical.  The  figures 
and  their  surroundings  are  very  well  painted,  but  there 
does  not  appear  any  adequate  reason  for  the  presence  of 
the  celestial  visitors.    Another  supernatural  being  is  shown 
in  Mr.   Cadogan  Cowper's  large   picture  entitled  Faust 
first  sees  Margaret,  in  which  Mephistopheles — a  little  in 
front  of  Faust — forms  a  sinister  figure  at  the  door  of  the 
church   from  which    Margaret  is  emerging.     The  artist 
has  clothed  her  in  over-gorgeous  apparel  for  a  peasant 
girl,  but  he  has  rendered  her  prim  but  conscious  attitude 
with  much  truth.     The  figure  of  Mephistopheles  is  also 
good,  but  that  of  Faust  hardly  answers  to  one's  concep- 
tion of  the  aged  and  learned  doctor,  endowed  again  with 
the  vigour  and  passions  of  youth,  the  type  chosen  being 
not  sufficiently  intellectual  or  refined.     As  a  whole,  the 
picture  is  a  little  disappointing.     The  background  appears 
to  dwarf  the  figures,  and  though  the  scarlet  garments  of 
Faust  and  his  companion  afford  a  welcome  note  of  relief, 
the  general  coloration  of  the  picture  is  uninteresting.    .Mr. 
Joseph   Farquharson's  diploma  picture,   When  Snow  the 
Pasture  Sheets,  shows  him  in  his  typical  vein.     Though 
mannered,  it  shows  much  delicate  observation.   Sir  Ernest 
A.  Waterlow,  R.A.,  is  also  among  the  snows  again.     His 
On  the  Wengern  Alp:    Winter  and  other  Swiss  scenes 


PORTRAIT    OF   J.    M.    W,    Tl  RNER,    R.A. 
BY    EDMUND    WILD  MAN,    JUNIOR 


Current   Art   Notes 


utilise  in  a  pleasant  and  effective  manner  the  contrasts 
afforded  by  masses  of  snow  variegated  with  dark  masses 
of  trees  and  backed  by  blue  skies.  Mr.  Mark  Fisher's 
( 'ision  of  the  Sea  shows  his  usual  atmospheric  quality  and 
unaffected  sincerity  of  observation  ;  while  Mr.  Adrian 
Stokes,  A.R.A.,  in  his  Reeds  of Lake  Leman,  gives  another 
of  his  delicate  colour-harmonies,  poetical  in  conception 
and  tender  in  tone.  A  Flower,  by  Mr.  Harold  Knight, 
shows  a  well-painted  figure  of  a  girl  standing  in  the  full 
light  of  a  sun-flooded  window.  The  interest  of  a  picture 
of  this  character,  however,  depends  much  on  its  sincerity 
of  treatment.  Mr.  Knight  has  to  some  degree  sacrificed 
truth  for  effect,  otherwise  one  would  think  that  the  face 
of  the  girl,  instead  of  being  partly  in  shadow,  would  be 
fully  illuminated.  Mr.  Edgar  Bundy,  A.R.A.,  justifies 
his  election  to  the  ranks  of  the  associates  by  the  painter- 
like qualities  of  his  Merry  Monarch.  The  work  is  a 
repetition  on  a  larger  scale  of  his  drawing  recently  shown 
at  the  Royal  Institute.  Good  as  is  the  general  conception, 
colour,  and  brushwork  of  this  picture,  its  effect  is  marred 
by  a  certain  element  of  vulgarity  in  the  treatment  of  the 
minor  figures,  who  are  all  represented  as  laughing  with 
the  boisterousness  of  country  plough-boys.  Charles  the 
Second's  court  may  have  been  merry,  but  his  courtiers 
did  not  lack  dignity  in  their  outward  bearing,  and  it  may 
be  surmised  that  wits  of  the  type  of  Buckingham  and 
Rochester  would  give  vent  to  their  mirth  in  a  less  exuber- 
ant manner. 

Sir  \V.  B.  Richmond,  in  The  Tree  of  Knowledge,  gives 
a  new  version  of  the  temptation,  Eve  being  represented 
seated  on  a  high  bough  of  the  tree  with  the  serpent  twined 
about  it  beguiling  her.  The  treatment  is  dignified,  and 
the  colour-scheme,  in  which  blue  predominates,  well  sus- 
tained. Mr.  Charles  Sims,  A.  R.A.,  strays  on  the  classical 
borderland,  his  nymphs  belonging  more  to  the  realms 
of  faerie  than  to  orthodox  mythology.  All  his  works  are 
replete  with  dainty  fancy,  though  in  some  instances  the 
suggestion  is  over-elusive.  Perhaps  the  most  satisfying 
of  his  works  is  The  Pastoral,  with  its  troop  of  naked  urchins 
presided  over  by  a  stalwart  and  graceful  maiden  return- 
ing from  the  harvest-field. 

From  the  golden  age  of  Mr.  Sims  one  is  brought  back 
to  the  stern  realities  of  the  present  time  by  the  numerous 
pictures  which  deal  either  allegorically  or  otherwise  with 
the  war.  Mr.  George  Clausen,  R.A.,  is  among  those  who 
treat  in  the  allegorical  spirit.  His  Renaissam  e shows  the 
spirit  of  Hope  standing  amidst  the  shattered  ruins  of  a 
city,  the  crocuses — the  flower  of  spring — springing  up 
about  her  feet.  Behind  her  are  a  man  and  woman 
extended  prone  on  the  ground,  and  a  French  savant  with 
bowed  head  sitting  on  a  heap  of  stones.  The  List  figure 
is  somewhat  incongruous.  His  orthodox,  black,  modi  I  n 
garments  appeal  nut  of  place  in  an  allegory  in  which  all 
the  other  figures  are  treated  conventionally,  and  this 
hesitation  between  the  ideal  and  the  realistic  is  apparent 
in  other  portions  of  the  work.  It  is,  nevertheless,  a  tine 
work — finer,however,in  isolated  passages  than  as  a  whole. 
Altogether  realistic  is  Mr.  haven's  canvas,  Wounded, 
London  Hospital,  igi 5.  The  scene  is  depicted  without 
any  exaggerated   pathos  or  false   sentiment       The  long 


perspective  of  a  large,  well-lighted  ward  is  shown  with 
its  rows  of  beds  filled  with  wounded.  A  young  High- 
lander, seated  on  a  chair  in  the  foreground,  is  having 
arm  dressed  by  a  nurse.  The  scene  is  tranquil,  almost 
commonplace  in  its  orderliness,  but  yet  its  tragic  aspect 
is  suggested,  though  not  over-emphasised,  by  the  still 
recumbent  figures  of  many  of  the  patients  too  ill  to  heed 
what  is  going  on  around  them.  As  a  work  of  art  the 
picture  takes  high  rank  by  the  way  in  which  the  artist  has 
surmounted  the  technical  difficulties  of  his  theme.  The 
complicated  perspective  is  managed  in  masterly  fashion, 
and  by  the  arrangement  of  the  lighting  and  figures  the 
long  series  of  parallel  lines  are  variegated  and  broken  up 
without  the  effect  of  space  being  destroyed. 

Of  battle-scenes  there  are  many.  Taking  those  dealing 
with  current  affairs  first,  one  may  open  with  Mr.  W.  L. 
Wyllie's  representation  of  the  "  Carminia  ng  the 

"Cap  Trafalgar."  In  the  actual  conflict  it  maybe  surmised 
that  the  enemy's  ship  would  have  been  less  distinctly  visible. 
A  more  effective  picture  by  the  same  artist  is  Bringing  in 
the  Wounded  'Lion,''  in  which  the  damaged  battle  cruiser, 
with  a  heavy  list  to  one  side, is  shown  entering  the  Forth, 
escorted  by  an  attendant  squadron  of  destroyers.  It 
is  well  arranged,  and  gives  an  impression  of  actuality. 
Mr.  Norman  Wilkinson  deals  with  the  conflict  in  which 
the  Lion  was  damaged  by  painting  The  Sinking  of  the 
"Bluecher."  This  work,  though  inevitably  recalling  the 
well-known  photograph  of  the  event,  invests  it  with  a 
more  graphic  interest.  Of  scenes  on  land,  Mr.  II 
Van  Ruith  shows  us  the  state  of  Ypres  (  athedral  offer  the 
Bombardment,  which  is  interesting  as  being  perhaps  the 
last  picture  of  the  ancient  building  before  its  entire 
demolition.  Mr.  W.  W.  Hawkesley's  picture  of  the  line 
of  helpless  women  and  children  sent  forward  to  make 
Germany's  Battle  Front  is  impressive  in  a  melodramatic 
manner.  The  huge  canvas  of  Mr.  Herbert  A.  (  diver, 
entitled  Where  Belgium  greeted  Britain,  depicts  the 
meeting  of  King  George  and  the  King  of  the  Belgians 
"at  the  frontier  post  on  the  road  from  Dunkirk  to  Fumes. 
December  4,  1914."  It  is  a  straightforward  statement  of 
a  historic  event,  absolutely  uninfluenced  by  the  ima 
tion,  and  would  have  been  far  more  effective  if  executed 
on  a  smaller  scale.  Mr.  F.  Roe's  Somewhere  at  the  Front, 
showing  a  party  of  Tommies  in  a  dug  out.  is  a  piece 
of  good  painting,  in  which  the  lighting  is  very  happily 
managed  and  the  brushwork  broad  and  vigorous.  There 
is  a  certain  amount  of  sentimental  interest  in  the  scene, 
but  it  is  not  unduly  emphasised.  His  /-'ester  Parent, 
showing  an  English  soldier  watching  over  the  cot  of  a 
sleeping  child,  is  also  well  painted,  but  in  this  the  senti- 
ment is  a  little  too  obvious.  Mr.  |.  1'.  Beadle's  Comrades 
reveals  a  party  of  English  and  French  soldiers  fighting 
side  by  side  against  the  advancing  foe.  The  incident 
111. iv  not  have  actually  happened,  but  the  artist  has  brought 
it  well  within  the  bounds  of  probability  by  showing  the 
troops  in  what  is  not  an  orthodox  treni  h.  but  merely  .11. 
extemporised  line  of  defence  thrown  up  during  the  actual 
fighting.     The  scene  isdepii  ted  with  some  graphic  power, 

and  happily  symbol radi         p  "t  Our  OW  n 

and  the  French  arm 


The    Connoisseur 


\  i  ii  11   i   [  156  the  Augustinian  order  erei  ted  a  monastery 

at   Bekenton,  us  it  was  then  spelt,  which  is  situated  on 

the  Bath  Road,  three  miles  from   Frome. 
Beckington.         , ,  ,       ,     ....  .     , 

...       B  About   H47  the  building    was  converted 

Abbey  ,     ■  ,         ,,  1 

into   an    ecclesiastical    college,     where 

Thomas  Beckington,  Bishop  of  Bath  and  Wells,  Am- 
bassador to  France  prior  to  the  espousals  of  Henry  VI. 
and  Margaret  of  Anjou,  was  educated  and  entered  holy 
orders.  In  the  reign  of  Henry  VII.  the  abbey  passed 
from  the  custody  of  the  Church  into  the  hands  of  laymen, 
who  were  at  work  for  several  generations  altering  the 
building  to  serve  as  a  secular  dwelling.  The  present 
house  retains  several  of  its  old  monastic  features,  whilst 
the  later  portions  contain  some  splendid  Jacobean  over- 
mantels and  plaster  ceilings,  one  of  the  latter  being 
decorated  with  Tudor  roses,  fleur-de-lys,  and  the  pome- 
granates of  Catherine  of  Arragon.  Most  of  the  domestic 
details  are  Jacobean,  but  there  is  also  an  "Adam" 
room.  The  dining-room  fireplace  is  a  typical  Tudor 
specimen,  whilst  on  the  exterior  of- the  building  there 
is  a  verandah  constructed  from  remains  of  the  ancient 
cloisters.  This  interesting  property  is  now  in  the  hands 
of  Messrs.  Harrods  Ltd.,  Brompton  Road,  who  hold 
full  particulars. 


beautiful  iridiscent  quality.  An  additional  charm  to 
these  pieces  is  that  no  two  are  alike,  it  being  impossible 
to  duplicate  the  exact  tones  of  colour. 


Wedgwood 


WE  regret  that,  owing  to  an  inadvertence,  the  firm  01 
Messrs.  Wedgwood  &  Co.,  Ltd.,  of  Tunstall,  were  not 
given  their  full  style  in  a  paragraph  which 
appeared  in  a  recent  number  of  THE 
CONNOISSEUR,  but  were  alluded  toas  Messrs.  Wedgwood 
and  their  productions  described  as  "Wedgwood  ware." 
As  the  firm  of  Messrs.  Josiah  Wedgwood  &  Sons,  Ltd., 
of  Etruria,  have  used  the  title  of  "Wedgwood  ware" 
for  their  productions  since  1759,  and  the  name  is  secured 
to  them  by  letters  patent,  this  description  should  be 
corrected,  as  being  an  infringement  of  their  rights  and 
likely  to  lead  to  confusion  between  the  two  companies. 
To  the  popular  mind  the  term  "Wedgwood"  more  par- 
ticularly applies  to  the  blue  and  white  Jasper  ware,  which 
formed  a  unique  feature  in  eighteenth-century  ceramic 
art,  and  is  still  extensively  made.  The  term,  however,  is 
equally  applicable  to  the  other  productions  of  the  firm,  of 
which  the  Queen's  ware,  pierced  ware,  and  black  basalt 
are  perhaps  the  best  known.  Two  beautiful  novelties 
which  have  been  lately  issued  by  Messrs.  Josiah  Wedg- 
wood .K:  Sons,  Ltd.,  are  reproductions  of  Chinese  "powder 
blue"  and  lustre  china.  In  the  former  the  deep  yet 
transparent  tones  of  vibrating  blue,  which  givesuch  charm 
to  the  Chinese  examples,  are  wonderfully  realised.  The 
blue,  as  in  the  K'ang-hi  originals,  forms  a  groundwork  on 
which  conventional  designs  in  gold  are  daintily  patterned. 
The  lustre  china,  which  also  derives  its  origin  from 
Chinese  inspiration,  shows  a  wonderful  variety  of  colora- 
tion, the  tones  varying  from  malachite  to  deep  orange 
and  from  peacock  blue  to  mother-of-pearl,  each  colour 
being    transfused   with    a   golden    sheen    and    having   a 


An  Apology 


We  hereby  acknowledge  that  we  have  described  ware 
manufactured  by  Wedgwood  &  Co.,  Ltd.,  of  Tunstall, 
Staffs.,  as  "Wedgwood"  ware,  this  trade 
mark  being  the  sole  property  of  fosiah 
Wedgwood  &  Sons,  Ltd.,  of  Etruria,  Stoke-on-Trent, 
Staffs.,  and  we  hereby  apologise  for  the  infringement 
committed. 

WE  have  to  announce,  with  great  regret,  the  resignation 

of  Miss   Wade,    principal   and    manager   of  the    Royal 

„  „  .      ,     .    School  of  Art  Needlework.     For  forty 

Koyal   School  or  ...       ,,.    ,  ,,   , 

.    '  -T      ,,  ,     years  Miss  Wade  gave  all  her  ener- 

Art  Needlework       .  ,   ,  B  . , 

gies,  and  the  greater  part  of  her  life,  to 

the  interests  and  welfare  of  the  school,  and  it  is  due  to 

her  untiring  devotion  that  it  has  become  the  well-known 

authority  that  it  is.     Miss  Wade  not  only  has  had  the 

absolute  confidence  and  regard  of  H.R.  H.  the  President 

and  the  committee,  but  has  also  earned  the  affectionate 

devotion   of    the    staff    and    workers    by    her    unfailing 

kindness  and  interest   in   their  welfare.       We  feel    sure 

that  all  who  know  the   school   will  join  in  hoping  that 

Miss  Wade's  health  will  soon  be   restored  by  the  rest 

we   regret  to   learn   she  so  sadly  needs.       H.R.  H.   the 

President  lias  appointed    Miss   Evelyn    Bradshaw,   who 

for  some  time  has  been  vice-principal,   as  successor  to 

Miss  Wade. 

THE  place  where  some  antique  treasure  or  curiosity 
is  discovered  has  always  a  fascination  for  the  collector. 

Every  time  he  handles  his  "find,"  or 
Antiques   in  the       ,  .  .     ,  .       ,  . 

^  shows  it  to  his  friends,  some  pleasing 

West  Country  .  .,  .  .  , 

memories  or  striking  incidents  con- 
nected with  its  purchase  will  return  to  him.  Indeed, 
it  is  this  fascination,  added  to  the  unique  pleasure  of 
possessing  the  treasure  itself,  which  makes  the  collector's 
home  so  intensely  interesting.  Devonshire  is  an  ideal 
place  for  the  explorer  in  search  of  the  antique  ;  besides 
its  glorious  scenery,  it  is  rich  in  places  of  historic 
interest,  and  at  the  present  time — blissful  thought  ! — it  is 
far  removed  from  the  scene  of  Zeppelin  raids  and  from 
the  fear  of  German  bombs.  In  no  part  of  this  lovely 
county  are  more  authentic  relics  of  the  past  or  choicer 
works  of  art  to  be  found  than  at  the  firm  of  Messrs.  J. 
Ellett  Lake  &  Son,  in  the  city  of  Exeter.  Here  are  fine 
examples  of  Stuart  silver,  rare  miniatures,  ancient  jewels. 
choice  specimens  of  old  china,  and  curios  of  many 
kinds.  Situated  almost  under  the  shadow  of  the  grand 
old  cathedral,  this  time-honoured  house  has  been  the 
resort  of  the  curio  -  lover  and  antiquarian  since  1833. 
Far  and  wide  extends  the  firm's  reputation  for  good 
taste  and  sound  judgment  in  their  purchases,  while  their 
old-world  courtesy  is  quite  proverbial. 


126 


The    Connoisseur 


VALUATION    AND 
CORRESPONDENCE  DEPARTMENT 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  increased  correspondence  and  the  fact  that  The  Connoisseur  is  printed  a  month  before 
publication,  it  is  impossible  for  us  to  guarantee  in  every  case  a  prompt  reply  in  these  columns,  an 
immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  where 
necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  goods  should  be  addressed  to  the 
"Manager  of  Enquiry  Dept.,   The  Connoisseur,  35-39,   Maddox  Street,   W." 


ANSWERS    TO    CORRESPONDENTS 


"Books. 

Le  Charivari,  1842.—  A9,29I  (Norwich). — The  works  you 
mention  are  appreciating  in  value,  but  at  present  are  worth  only 
a  few  shillings. 

Bible,  imprinted  by  Robert  Barker,  London,  1605. 

— A9,366  (Bromley-by-Bow). — Judging  from  your  description, 
the  Bible  is  not  in  the  best  of  condition,  and  therefore  would  be 
unlikely  to  exceed  30s.  in  value  at  most. 

Engravings. 

"Coursing-,"  by  Reeve,  after  Wolstenholme,  1807. 

— .A.9,259  (Boston  Spa). — It  is,  of  course,  quite  impossible  to 
attach  a  definite  value  to  your  prints  without  an  inspection,  but 
a  really  fine  genuine  set  of  four  plates  in  colour  would  be  worth 
approximately  £40  or  ^50. 

Portrait  of  Nelson.— A9, 338  (London,  S.W.). — It  is  a 
trifle  hard  to  identify  the  coloured  mezzotint  you  speak  of,  but 
if  you  could  let  us  see  the  original,  we  should  probably  lie  able 
to  assist  you  in  the  matter. 

Miscellaneous. 

Queen  Anne  Bureau.  — A9, 309  (Lincoln).— The  sample 
of  veneer  which  you  enclose  appears  in  be  burr. walnut.  If  you 
could  send  us  a  photograph  of  the  bureau,  w  <■  should  be  able  to 
supply  you  with  an  approximate  valuation,  which  we  are  unable 
to  do  from  the  description  alone. 

Silver  Loving  Cup.— A9, 334  (York).— Judging  from  the 
rubbing  of  marks  sent  to  us,  your  loving  cup  is  of  Newcastle 
manufacture,  period  1S07.  Without  seeing  the  original,  and 
going  by  the  diagram  alone,  we  should  estimate  the  value  a! 
being  between  £5  5s.  and  £6   6 

Book  on  Pewter.— A9, 338  (London,  S.W.).-  lor  a  good 
book  showing  pewter  marks,  we  should  recommend  you  to 
Markham's  Pewter  Mark  ami  Old  Pewter  Ware,  published 
by  Messrs.  Reeves  &  Turner,  1909.  Clock.  —  We  regret 
that  we  have  been  unable  to  trace  the  maker  of  your  clock 
in  any  of  the  usual  channels  of  information.  If  you  sent  us 
a  photograph,  together  with  a  full  description,  we  should  be 
able  to  procure  an  approximate  valuation  of  the  piece. 


"Paintings. 
Portrait   of    Marshall    FitzJames   of    Berwick.— 

Ag,257  (Paris). — Judging  from  the  photograph  sent  to  us, 
portrait  of  FitzJames  of  Berwick  appears  to  be  of  some  inter- 
est. If  you  wish  to  discover  the  artist  or  any  other  particulars, 
we  should  recommend  that  it  be  reproduced  in  our  NOTES  VND 
QUERIES  pages,  at  the  usual  charge  of  10s.  6d.  to  cover  cost  of 
preparing  a  block. 

Portrait  of  a  Lady.- Ao. 333  Chester).  We  regret  that 
the  two  small  photographs  sent  to  us  do  not  permit  of  our 
forming  anything  like  an  accurate  idea  of  the  portrait,  which  is 
in  the  style  of  the  Kneller  period,  but  may  possibly  be  a  copy 
made  at  a  later  date.  So  far  as  we  can  judge,  the  work  does 
not  seem  to  be  of  any  artistic  importance,  whilst  the  draughts- 
manship is  very  poor.  It  is  impossible  to  appraise  a  value  from 
the  data  in  hand. 

Unidentified  Paintings.  —  A9,335  (London,  W.).— 
Owners  of  unidentified  paintings  of  all  descriptions  should  have 
them  reproduced  in  our  NOTES  ami  QUERIES  section,  which 
has  proved  an  excellent  medium  for  ail  purposes  connected 
with  the  tracing,  locating,  or  ascription  of  works  of  art  of  all 
descriptions. 

"Pottery  and  Porcelain. 

Vases. — A9.278  (Tunbridge  Wells).— Judging  from  the 
photograph,  your  vases  are  modern  imitations  of  rare  examples 
from  the  Sevres  factory,  ami  consequently,  from  a  collector's 
point  of  view,  they  would  be  valueless,  but  as  ornament! 
might  realise  from  25s.  to  30s.  the  pair.  Plaque. — The 
plaque,  of  which  you  send  a  photograph,  is  possibly  Wedgv, 
but   we  should  require  to  see  the  original   in  order  to  1 

\r.    . 

Silver  Lustre  Teapot,  etc.  —  An,;i  1    I  \.   ham        1 
value  of  the  silvei  lustre  teapot  in  q  :  about  30s., 

as  also  would  the  basalt  specimen.     The  oilier  object  referred  to 
cannot  be  valued  unless  we  see  a  photograph. 

Sunderland  Lustre-Ware  Jug.     .\9.3\s  (Barcelona). 
— As  your  Sunderland  jug  is  imperfect,  il   wi 
little  interest  or  value  to  a  collector. 


'-'7 


HE  CONNOISSEVP^ 

GENEALOGICAL  AND 

DIC  DEPARJMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to  take  advantage  of  the  opportunities  offered  herein  should 
address  all  letters  on  the  subject  to  the  Manager  of  the  Heraldic  Department,  Hanover  Buildings,  35-39, 
Maddox  Street,   W. 

Only  replies  that  may  be  considered  to  be  of  general  interest  will  be  published  in  these  columns.  Those 
of  a  directly  personal  character,  or  in  cases  where  the  applicant  may  prefer  a  private  answer,  will  be  dealt 
with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the  accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged  fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or  heraldry,  it  is  desirable  that  the  fullest  details,  so  far 
as  they  may  be  already  known  to  the  applicant,   should  be  set  forth. 


Judd. — Sir  Andrew  Judde,  knt.,  Alderman  of  London,  was 
a  skinner  by  trade.  He  was  alderman  of  Farringdon  Without 
and  Bridge  Wards,  was  sheriff  in  1544  and  mayor  15  50-1. 
His  will  was  proved  in  the  Court  of  Hustings  in  155S-9,  of 
which  the  following  is  an  abstract : — To  be  buried  in  the  parish 
church  of  St.  Helen,  near  Busshopesgate,  near  Agnes,  my  late 
wife.  To  Dame  Mary  judde,  my  wife,  in  satisfaction  of 
jointure  or  dower,  my  manors  of  Essnetisforde,  otherwise  Assh- 
ford,  and  Esture,  co.  Kent,  and  Bardon,  co.  Herts,  also  my 
messuages  7c  in  the  town,  parish,  and  fields  of  Batons,  co. 
Surrey,  to  hold  same  for  life,  with  remainders  to  John  and 
Richard,  his  sons  in  tail.  Also  to  son  John,  lands  and  tenements 
in  Spenshurste  and  Spellyurste,  co.  Kent,  known  by  the  name 
of  "  Coddes,"  certain  others  in  Bydborough,  co.  Kent,  and  the 
manor  of  Down,  co.  Kent.  To  the  Master  and  Wardens  of  the 
Fraternity  of  Corpus  Christi  of  the  Craft  or  Mistery  of  Skynners 
of  the  City  of  London,  the  close  of  pasture  called  "  Sandehilles," 
on  the  backside  of  Holborn,  in  the  parish  of  St.  Pancras,  co. 
Middlx.,  being  of  the  value  of  ^13  6s.  8d.  ;  a  messuage  in  the 
"  olde  Swanne  Alley"  in  Thomas  Street,  in  the  parish  of 
St.  Laurence  Pultney,  divers  messuages  in  the  parishes  of  All 
Hallows  in  Graces  Street;  St.  Mary  Axe;  St.  Peter  in  Corn- 
hill,  and  an  annuity  of  ^10  issuing  from  a  tenement  called  "the 
Bell"  in  Graces  Street  aforesaid,  to  hold  the  same  in  trust  for 
the  maintenance  of  a  free  grammar  school  at  Tonbridge,  co. 
Kent,  lately  erected  and  founded  by  the  testator,  paying  to  the 
schoolmaster  £20  and  to  the  usher  £S  yearly,  and  charged  wdth 
the  payment  of  eighteen  pence  weekly  to  each  of  six  poor  alms- 
men living  in  the  almshouses  within  the  close  of  St.  Helen's 
aforesaid,  and  with  the  distribution  of  coals  yearly  to  the  same 
to  the  value  of  £\  5s.  4d.  The  overplus,  after  payment  of  all 
charges,  expenses  of  keeping  the  premises  in  repair,  &c,  is  to 
be  to  the  use  and  behoof  of  the  said  company,  to  order  and 
dispose  at  their  wills  and  pleasures.  This  will  is  dated 
2  September,   1558. 

Lavender. — The  arms  of  this  family  are  : — Per  fess.  gu.  and 
arg. ,  a  pale  counterchanged,  and  three  fountains  ppr.  Crest  : — 
A  demi-horse  salient  arg.,  gorged  with  a  chaplet  of  lavender 


ppr.  These  arms  were  confirmed  and  the  crest  granted  7  May, 
1628,  to  Nathaniel  Lavender,  of  London,  son  of  Elias  Lavender, 
son  of  William  Lavender,  of  Standon,  co.  Herts. 

Walter. — On  20  March,  1 57 1 ,  the  following  arms  were 
confirmed  to  Henry  Walter,  of  Stepney,  co.  Middlx.,  gent.  :  — 
I.  Arg.  guttee  de  sang  and  two  swords  in  saltire  gu.,  oppressed 
by  a  lion  ramp.  sa.  for  Walter.  II.  Arg.  a  chev.  betw.  three 
sickles  gu.  Crest : — A  heron  ppr.,  putting  its  beak  into  a  whelk 
shell  or  ;  mantled  gu.,  doubled  arg.  The  following  descent  is 
also  given  : — 

John  Walter,  of  = 

Crawden, 

or  Croydon, 

co.  Cambridge. 


I 
Thomas  \\  alter 


Elizabeth,  daughter  of 
Richard  Pinchpoole. 


I 
Roger    \\  alter 


I 


I 
>hn  Walter,  of 
Btoxborne, 
co.  Herts. 


1 

Henry  Walter, 
son  and  heir. 

Purt. —  Richardson  Purt  was  son  of  Mark  Purt,  of  Finborough, 
co.  Suffolk,  clerk.  Matriculated  at  Trinity  College,  Oxford, 
16  June,  1742,  aged  19.  In  the  same  year  a  Robert  Purt,  clerk, 
took  his  B.A.  at  King's  College,  Cambridge,  and  his  M.A., 
four  years  later.  He  is  probably  identical  with  Robert  Purt, 
who  received-  a  dispensation  to  hold  two  livings  in  1749,  the 
livings  in  question  being  the  rectories  of  Settrington  and 
Dennington,  co.   York. 


Registered  for  transmission  to  Canada  at  Magazine  Post  Rates.  Printed  by  Bemrose  &  Sons  Ltd.,  4  Snow  Hill,  London,  E.C.,  and 
Derby,  and  published  by  the  Proprietors,  Otto  Ltd.,  at  HANOVER  BUILDINGS,  35  to  39  MADDOX  STREET,  LONDON,  W.,  England. 
Subscriptions— Inland  1  6/-,  Foreign  1  7/-,  to  Canada  1  4/.,  per  annum.  Published  the  1st  of  each  month.  Published  by  Gordon  &  Gotch, 
in  Australia  and  New  Zealand;  by  The  Central  News  Agency,  in  South  Africa;  by  Higginbotham  &  Co.,  in  Bombay  and  Calcutta;  and 
by  The  International  News  Co.,  in  U.S.A. 


*4 

*«■■: 


LiSrfi 


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July,  1915. 


The  Davenham  Collection  English  Eighteenth=Century 

Caricaturists — Thomas  Rowlandson  By  Selwyn  Brinton 


The  collection  formed  by  Mr.  Dyson  Perrins 
at  Davenham,  beneath  the  shadow  of  the  Malvern 
Hills,  is  particularly  rich  in  the  prints  and  drawings 
of  those  two  giants  in  English  caricature  of  the 
eighteenth  century — Thomas  Rowlandson  and  James 


Gillray.  Both  these  artists  received  careful  and — 
for  the  period  and  information  available — adequate 
treatment  during  the  past  century  by  Thomas  Wright 
in  his  Life  of  Gillray,  and  by  Joseph  Grego  in  his 
Rowlandson  the  Caricaturist.     The  two  authors  just 


THE  WOOLPACK    AT    HONGERFORD,    BERKS. 

Vol..  XLII.    -No.   167.     G 


ORIGINAJ     DRAWING,    SIGNED    ROWLANDSON,    1 7>l'> 
I31 


The    Connoisseur 


VIEW    OF   OXFORD   CASTLE 


FROM    AN'    ENGRAVING    PUBLISHED    1S09 


mentioned  must  have  lived  in  the  records  of  the 
eighteenth  century  and  saturated  themselves  in  its 
sti  iry.  Mr.  Grego  mentions  "  the  late  Thomas  Wright, 
F.S.A.,"  in  a  very  friendly  manner  in  the  third  page 
of  his  own  work  ;  and  perhaps  it  is  no  flight  of  fancy 
to  imagine  these  two  students  sometimes  spending  an 
evening  together,  and  entirely  forgetting  their  own 
epoch  in  the  memoirs  of  a  far  more  congenial  past. 

On  the  other  hand.  Grego's  work  needs  revision  in 
some  parts,  as  much  as  that  of  his  predecessor;  and 
here  the  Davenham  collection — which  contains  more 
than  a  thousand  prints  by  Gillray,  and  which  includes 
also  (a  point  of  some  interest)  the  actual  table  at 
which  James  Gillray  worked,  which  passed  later  into 
the  hands  of  George  Cruikshank — is  even  superior  in 
its  collection  of  Thomas  Rowlandson's  prints,  which 
number  very  considerably  more  than  the  thousand, 
besides  containing  a  number  of  the  artist's  original 
drawings,  to  which  I  shall  later  direct  the  reader's 
most  special  attention. 

The  two  artists  were  contemporary,  living  both  in 
the  very  richest  period  of  British  art  and  political  life. 
Gillray's  dates  we  have  seen  to  lie  between  1757  and 
1815,  with  from  1782  to  1810  as  his  period  of  great- 
est productive  power.  Thomas  Rowlandson  was  born 
one  year  earlier,  in  July  of  1756,  and  outlived  his 


greatest  rival  by  many  years,  for  he  published  his 
Dr.  Syntax  in  1809,  and  only  died  in  1827.  He 
was  possessed  of  artistic  talents  which  deserved  a 
better  field  than  even  that  one  which  he  made  for 
himself  in  caricature;  and,  as  I  have  suggested  else- 
where, might — had  he  but  willed  it — have  attained  to 
the  highest  eminence  in  art  creation.  "His  work," 
I  said,  when  speaking,  in  my  English  Caricaturists  of 
the  Eighteenth  Century,  of  the  Royal  Academy  Exhi- 
bition of  1775,  "must  have  shown  considerable  power 
to  be  hung  beside  the  canvases  of  Reynolds,  Romney, 
and  Hoppner  "  ;  but  already,  in  1784,  the  more  facile 
field  of  caricature  had  begun  to  attract  him,  and  in 
the  vortex  of  political  excitement  caused  by  the 
famous  Westminster  Election  he  found  an  inspiration 
and  a  ready  market  with  the  publishers. 

The  period  of  1791  and  the  years  immediately 
succeeding  seem  to  me  of  peculiar  interest  in  Row- 
landson's brilliant  creations,  and  this  special  period 
is  very  richly  represented  in  the  Davenham  collection. 
His  line  is  richer,  more  free,  more  living  at  this 
moment  of  his  life  ;  his  sense  of  the  beauty  of  women 
more  sensitive,  more  inspired.  Take  his  women  in 
The  Inn  Yard  on  Fire  (aquatint,  1791),  in  Damp 
Sheets  (Aug.  1st,  1791),  Housebreakers  (Aug.  1st,  1791), 
and  in  English  Barracks  and  French  Barracks  (same 


J3: 


133 


Tlie   Connoisseur 


year  of  date  i  : 
dressed  o  n  1  y, 
in  the  three 
first-named,  in 
night  -eap  and 
night-  dress, 
the)  have  not 
the  superbly 
physical  beauty 
which  i  s  t  o 
be  noted  in 
some  of  Gill- 
ray's  carica- 
tures, but  are 
softer,  more 
feminine,  and 
infinitely  more 
alluring.  To 
the  same  year 
belong  the  re- 
markable prints 
(f  r  o  m  the 
Davenham  col- 
lection, like  all 
those  noted 
above)  of  Tht- 
Dead  Alive,  in 
two  part  s, 
which  seem  to 
have  been  over- 
looked by  Mr. 
Grego. 

But  this  man, 
with  a  sense  of 
beauty  as  sensitive  sometimes  as  that  of  Romney  him- 
self, was  a  born  humorist,  who  knew,  perhaps,  better 
than  we  can  hope  to  do  his  own  powers  and  limitations. 
He  cannot  help  himself,  and  the  humorous  side  seems 
often  to  run  over  into  his  plate  almost  without  his 
willing  it;  there  is  innate  in  him  "that  element  of 
caricature  which "  (as  The  Connoisseur  remarked 
very  truly  in  a  recent  issue,  speaking  of  his  print  of 
Tlie  Mint)  "strays  frequently  into  his  work  intended 
wholly  to  be  serious."  There  was  no  reason,  for 
instance,  why  his  View  of  Oxford  Castle  (see  illustra- 
tion) in  this  collection  should  not  have  remained  as 
simply  a  charming  scene  of  landscape  and  riverside 
architecture  :  but  he  must  introduce  the  episode  of 
the  dog  swimming  after  the  ducks,  and  the  figures  in 
the  windows,  by  the  river  and  in  the  street,  are  all  alive 
with  the  fun  of  the  chase  and  scuffle. 

Many,  and  in  fact  the  most  of  his  social  prints,  are 
pure,  unadulterated  humour,  in  which  he  abandons 
himself  to  the  funny  side  of  the  situation  with  an 


1'HE  BEAR  AND  THE  BEAR  LEADER 


enjoyment  as 
spontaneous  as 
that  of  his 
audience.  The 
Mad  Bull  011 
Westminster 
Bridge  is  abso- 
lutely crowded 
with  figures 
and  incident, 
which  centres 
in  the  bull 
himself,  in  im- 
minent proxim- 
ity to  a  running 
old  gentleman, 
and  pursued 
in  his  own 
turn  b y  a  n 
excited  crowd. 
The  same  side 
of  his  art  ap- 
pears in  the 
Cart  A'aee  and 
Careless  A I  ten- 
lion,  wb  ere  a 
gouty  old 
gentleman  is 
furiously  pull- 
ing the  bell, 
while  the  wait- 
ing-maid, enter- 
ing at  the  door 

;iNAL  DRAWING,  SIGNED  ROWLANDSON,  1776  ^^     ernDracecl 

surreptitiously  by  the  military,  upsets  the  tea-tray  with 
its  contents,  and  the  kettle  boils  gaily  over  the  gouty 
foot  of  her  exasperated  employer;  and  yet  again  in 
the  inimitable  humour  and  canine  psychology  of  a 
Mad  Dog  in  a   Coffee  House. 

What  the  Mrs.  Fitzherbert  scandal  was  to  James 
Gillray,  that  was  the  Mrs.  Clarke  parliamentary  episode 
to  Thomas  Rowlandson.  He  "  let  himself  go  "  ;  he 
fairly  revelled  in  it ;  and  the  series  of  prints  on  the 
subject  in  the  Davenham  collection  attest  his  ingenuity 
and  close  attention.  The  Duke  of  York — "George 
the  Third's  darling  son,  the  favourite  Frederick  "- 
had  been  criticised  very  freely  as  to  his  administration 
of  the  Army  ;  and  on  January  27th  of  1809,  Colonel 
Wardle  charged  the  duke  with  corrupt  administration 
of  the  Half-Pay  Fund,  whose  control  lay  with  the 
commander-in-chiet. 

"Colonel  Wardle,"  says  Mr.  Grego,  "stated  he- 
should  prove  that  the  Duke  of  York  had  a  mistress 
—Mrs.  Clarke — living  in  great  splendour  in  Gloucester 


SH^tti-azi. 


'34 


• 


IB 


135 


The    Connoisseur 


Place  from 
1803  to  1806. 
The  lady  had  a 
list  of  prices  for 
the  sale  of  com- 
missions, and 
her  patronage, 
it  was  stated, 
extended  also 
to  ecclesiastics. 
He  moved  for 
a  Coram  ittee 
of  the  whole 
House  to  in- 
vestigate the 
subject  .  .  . 
and  on  Febru- 
ary  1  st  Mrs. 
Clarke  stood 
at  the  bar  of 
the  House,  a 
1  lively  Thais, 
e  m  i  11  e  n  1 1  y 
self-  possessed, 
a  r  m  e  d  wit  h 
ready  wit,  anil 
w  i  t  h  char  m  s 
of  person  and 
address  which 
dazzled  the 
gravest  mem- 
bers." 

She  certainly 
seems  to  have 
h  a  d  the  best 
of  it  in  this 
exa  mi  nation, 
keeping  her 
h  e  a  d ,  a  n  d 
turning  the  questions,  which  were  intended  to  annoy 
or  degrade  her  publicly,  against  the  1  Hike  of  York, 
who  seems  to  have  at  this  time  withdrawn  his  "pro- 
tection," promising  a  payment  of  ^400  a  year,  which 
had  got  badly  into  arrears. 

Rowlandson  did  not  improve  the  already  uncom- 
fortable position  by  a  series  of  merciless  caricatures 
under  the  titles  of  Days  of  Prosperity  in  Gloucester 
Place  ;  A  Parliamentary  Toast :  The  Resignation,  or, 
John  Bull  overwhelmed  with  Grief  (he  exclaims  :  "Oh, 
dunna  go,  dunna  go  !  It'll  break  my  heart  to  part 
with  ye:  you  are  such  a  desperate  moral  character"!: 
The  Road  to  Preferment  through  Clarke  Passage  : 
Dissolution  of  Partners///'/',  or.  The  Notorious  Mrs. 
Clarke  ;  and  A    General  Discharge,  or,   The  Darling 


UNMARRIED 


Angel's  final 
S hot .  T  h  e 
whole  series 
was  published 
b  y  T  h  o  m  a  s 
Tegg  on  March 
17th,  1809, 
with  the  title, 
1  ( 'omplete 
Collection  '.of 
( 'aricati/res  re- 
lating to  Mrs. 
Clarke  :  and, 
h  o  w  e  v  e  r  t  h  e 
cari  cat  ur  i  st 
may  have  rid- 
dled the  "  Dar- 
ling Angel's" 
moral  charac- 
t  e  r .  h  e  w  a  s 
more  merciful 
to  her  person, 
for  she  appears 
in  these  prints 
as  what  she  al- 
most certainly 
was,  an  e  x- 
tremely  pretty 
and  attractive 
woman. 

I  turn  now 
to  the  original 
studies  by 
Thomas  Row- 
landson in  the 
Davenh a  m 
collection,  be- 
cause  the  V 
present  to  us 
features  of  especial  interest.  Drawn,  as  it  would 
seem,  with  a  quill  pen — from  the  wonderful  richness 
and  freedom  of  the  line — and  tinted  with  a  delicate 
wash  of  colour,  they  bring  us  very  close  both  to  his 
methods  and  his  direct  creation.  I  noted  among 
them  more  especially  a  charming  scene  of  English 
Countryside,  in  colour  :  Modern  Antiques  :  The  Return 
from  Gretna  Green  (see  illustration),  also  in  colour, 
where  the  kneeling  daughter  holds  her  angry  parent's 
hand  ;  The  Symptoms  of  Sanctity,  which  shows  a  fat 
monk  beside  a  very  pretty  penitent  :  .-/  Doleful  Dis- 
aster, or.  Miss  Tubby  Tetarmin's  Wig  on  Fire;  The 
Woolpack  at  Hungerford  (see  illustration),  another  of 
this  artist's  inimitable  English  landscapes  ;  The  Bear 
and  the  Bear  Leader  (1776)  (see  illustration),  a  clever 


BY    THOMAS     ROWLAND 


The   Davenliam    Collection 


MARRIED  BV     rHOMAS 

satire  of  a  boy  and  his  tutor,  which  I  am  not  aware 
of  having  seen  reproduced  as  a  print  ;  .1  I  /. 
like  the  others  in  colour-wash,  with  the  outlines  indi- 
cated with  the  pen  :  and,  lastly,  a  pencil  study  for 
the  print  called  Wit's  last  Stake,  showing  the  famous 
Duchess  of  Devonshire  sitting  on  Charles  James  Fox  S 


Ri  iu  I   VND   0 

knee,  with  a  cobbler  mending  her  shoe,  one  of  the  well 
known  sen.  .  ol  the  Westminster   I  V  •  tion.     Several 
of  these  drawings  are  engraved,  and   one   sometimes 
finds    that    the   delicati     colour   of   the  original   has 
suffered   very   materially  in   the   reproduction. 

Before  turning  to  the  pole  1   would 


The   Connoisseur 


mention  some 
delightful 
prims  in  this 
collection 
deali ng  with 
countrylifi  and 
fo  x-hunti  ng. 
The  series  of 
three  prints, 
doing  nut  in 
the  Morning, 
Win  J  s  o  r 
Fo  res t ,  Fox 
Chase,  and  an- 
other country 
scene,  fi  ne 
though  they 
are.  seem  to  me 
surpassed  by  a 
similar  series  of 
the  date  I  786, 
with  the  titles, 
Going  out  in 
t he  Mom  i ng 
1  N  o  v  e  m  b  e  r 
28th,   1  786), 

The    ChaSt    (see 

illustration) 

(March,  1787), 
and  Death  of 
the  Fox  (Nov- 
ember, 1  786), 
of  which  The 
Chose,  i  n  its 
treatment  of  the  pack  in  full  cry  in  the  middle  distance, 
is  one  of  the  finest  hunting  scenes  I  have  ever 
come  across  by  any  artist  of  any  period.  These 
are  large  prints,  and  would  be  admirably  adapted 
for  framing. 

Critically  speaking,  I  think  we  may  safely  decide 
that  while  both  treated  political  and  social  subjects 
indiscriminately,  Gillray's  real  strength  lay  in  political 
and  Rowlandson's  in  social  satire.  The  latter  artist's 
laugh  is  more  easy,  his  pencil  generally  less  mordant 
in  its  satire,  though  he  scourges  with  equal  energy 
both  Fox  and  his  great  opponent  in  his  cartoons 
of  The  Times,  Tone//  on  the  Times,  Word-Eating 
(attacking  here  Fox),  A  Sweating  for  Opposition, 
The  Rochester  Address,  State  Butchers,  and  The  Pitt 
Fall  (1789). 

But  on  the  whole,  what  we  enjoy  in  Rowlandson  is 
the  other  side  of  his   art — Englishmen  in  November, 


W*t*.r&Qlbim  /9o~6< 


I'HE  RETCRN  FROM  GRETNA  GREEN  ORIGINAL  DRAWING,  SIGNED  ROWLANDSON, 


cursing  their 
fate  writh  the 
national  ten- 
dencyto  spleen ; 
French  me  n  in 
No  v  e  in  /<  e  r  . 
with  all  the  in- 
souciance and 
gaiety  of  the 
'ancien  regime' : 
The  Mis,  nes 
of  Human  Life, 
Being  suddenly 
seized  with  a 
ft  of  e  ramp, 
and  that  in  the 
first  grade  of 
the  honeymoon, 
where  the  poor 
husband  is 
writhing  in 
agony,  and  his 
pretty  young 
wife,  in  night- 
gown and  the 
mob-cap  Row- 
landson  so 
loved  to  de- 
pict, regards 
h  i  m  with  an- 
xiety and  sym- 
pathy :  and  the 
whole  series  of 
his  satires  upon 
matrimony  (taking  still  the  collection  which  is  here 
before  our  study) :  A  White  Sergeant  giving  the  word 
of  command;  A  Smoking  House  and  a  Scolding  Wife; 
Comforts  of  Matrimony — beside  the  fire,  with  the 
husband  toasting,  and  children  all  over  the  floor ; 
and  Miseries  of  Wedlock,  where  the  angry  partners 
are  breaking  the  furniture  upon  each  other,  a  point 
of  view  which  reaches  its  climax  in  A  Stag  at  Toy, 
where  the  unfortunate  man  is  trying  to  defend  himself 
with  any  object  at  hand  from  the  furious  onset  of 
an  excited  virago. 

Rowlandson's  view  of  matrimony  was,  like  his  view 
of  life,  essentially  human  :  he  records,  perhaps,  in  his 
inimitable  drawings,  the  "  transitory  impressions  of 
the  hour,"  but  he  records  them  truly.  They  witness 
to  the  human  life  of  his  time,  and,  indeed,  of  all  time  ; 
and  therefore  they  have  an  unfailing,  a  perennial 
attraction,  and  a  lasting  value. 


1S06 


ANNE  HYDE,  DUCHESS  OF  YORK 

BY    SIR    PETER    LELY 

In  the  collection  of  Earl  Spencer,  K.G.,  lit  Althorp 


Old    English   Chatelaines 

English  chatelaines  date  further  back  than 
the  Norman  Conquest,  for  metal  hooks,  to  which  were 
attached  tweezers,  tooth  and  car  picks,  keys,  etc.,  have 
been  found  in  the  graves  of  Anglo-Saxon  women.  In 
the  Middle  Ages  these  necessary  objects  were  hung 
at  the  girdle,  and  at  the  Renaissance  dangled  from 
the  hangers  of  the  belt.  Towards  the  end  of  the 
sixteenth  century,  however,  the  belt  with  long  ends 
went  out  of  fashion,  and  a  kind  of  chatelaine  came 
into  vogue.  The  list  of  presents  received  by  Queen 
Elizabeth  in  the  twenty-ninth  year  of  her  reign  re- 
cords "a  device  to  hang  keys  at  of  golde,"  while 
continental  pattern-books  of  about  this  date  include 
designs  for  scissorcases,  etc.,  which  probably  hung 
from  these  "pendants  de  clefs." 

Some  years  ago  there  was  exhibited  at  the  Victoria 
and  Albert  Museum  a  chatelaine  and  watch  said  to 
have  been  given  to  Anne  Boleyn  by  Francis  1. 
(No.  i.).  While  watches  were  first  made'  in  the 
early  years  of  the  century,  and  were-  probably  used 
by  Anne  Boleyn,  this  one  at  all  events  dates  from 
the    seventeenth    century.  The    component    parts 

of  the  chatelaine  are,  however,  of  good  Tudor  work- 
manship, even  if  they  did  not  originally  form  a 
chatelaine.  The  watch,  indeed,  was  usually  worn 
as  a  pendant,  as  it  is  in  the  "  Krascr  -  Tytlcr " 
portrait  of  Mary  Queen  of  Scots,  in  the  National 
Portrait  Gallery  (No.  ii.).  In  tin  seventeenth  cen- 
tury it  was  generally  hung  by  a  ribbon  from  the 
bodice  or  girdle.      Tin-  scent-case,  howevei 

" .     .     .     That  bob  of  g<>l<l 
Which  a  pomander  fall  doth  hold" 


By   Joan    Evans 

is  mentioned  by  Evelyn  as  hanging  from  a  "  French 
crochet."     He  also  alludes  to  the  chatelaine — 

".     .     .     To  which  a  bunch  of  onyxes 
And  many  a  golden  seal  there  dangles." 

At  the  beginning  of  the  eighteenth  century  the 
"equipage''  was  in  vogue  — that  portentous  chate- 
laine which  Lady  Mary  Wbrtley  Montagu  describes 
m  her  Fourth  Town  Eclogue.  It  was  usually  made 
of  chased  gilt  metal  :  from  the  central  medallion 
hung  a  toothpick,  and  eases  lor  thimble,  scissors, 
pens,  knives,  etc.,  all  decorated  en  suite.  At  the 
same  time  the  simpler  and  smaller  chatelaine  was 
almost  universally  worn,  and  formed  a  popular 
wedding  present.  It  usually  consists  of  a  shield- 
shaped  hooked  medallion,  from  which  two  chains 
descend,  linked  by  plaques,  from  the  last  of  which 
hangs  the  watch.  In  addition,  there  are  some- 
times two  or  more  free'  chains  to  hold  the  watch- 
key   and    seal. 

Chatelaines   are   an    especially    interesting    form    of 

jewellery  to  collect,  in  that  they  were  the  province 
of  the  metal-worker  rather  than  the  gem-setter,  the 
bijoutier  rather  than  the  joaillier,  and  very  fine 
chasing  and  enamelling  is  found  on  examples,  such 
as  that  made  by  Thuilst  in  1705  lor  Queen  Anne 
(now  in  the  l'it/william  Museum),  or  the  beautiful 
chatelaine  and  wan  h  of  whiti  -veim  >1  agati  encrusted 
with  diamonds  and  rubies,  and  set  in  engraved  gold, 
made  by  John  Rich  about  17.10,  in  the  Pierpont 
Morgan  1  ollei  tion.  Pinchbei  k,  the  patent  invention 
of  Christopher  Pinchbei  k.  a  watchmaker  and  toyman 
of   fleet   Street,    was  frequently  used,  and  as  much 


I II 


The    Connoisseur 


care  was  taken  with  the  design  and  chasing  as  if  it 
was  of  precious  metal. 

The  watch  and  the  medallions  of  the  chatelaine 
were  usually  chased  with  figures  in  the  classical  style 
within  a  rococo  border,  while  the  small  linking 
medallions  are  frequently  pierced. 

A  little  after  the  middle  of  the  century  very  fine 
chatelaines    were    made   by   the   firm  of  Perigal   and 


others,  decorated  in  painted  enamel  with  classical 
heads  and  figure  subjects  in  grisaille  (Nos.  iii.  and 
iv.).  About  1770  a  kind  of  chatelaine  was  introduced 
which  dispensed  with  a  hook,  and  terminated  instead 
in  a  hanging  medallion  and  tassels  (No.  v.).  This 
type  is  often  decorated  with  translucent  enamel  in 
one  colour,  generally  a  pinkish  purple  or  a  royal 
blue,    the   chains  and  tassels  being  of  linked   pearls 


wium 


&*(&&& 


No.  II. — PENDANT  WATCH,  FROM 

"  FRASER-TYTLER "    PORTRAIT   OF 

MARY   QUEEN    OK    mot-. 


NO.   I.— CHATELAINE    AMI    WATCH, 

SAID   TO    HAVE    BEEN    GIVEN    TO 

ANNE    BOLEYN    BY    FRANCIS    I. 


No.   III. — CHATELAINE 
BY    PERIGAL 


142 


Old  English    Chatelaines 


or  tubular  chain.  It  is  characteristic  of  the  time 
that  the  medallion  is  often  treated  as  a  memorial 
locket  and   filled  with  hair.     This  hookless  type  of 


of  great    difficulty   and    prohibitive    expense,    good 

pinchbeck  and  steel  examples  are  occasionally  to  be 
found.     Amateurs  should  be  on  their  guard  against 


Nl  >.  IV.      i  HA  i  ii  aim-: 
BY    PERIGAL 


NO.  VI.       CHATE]   VINE    "I 
WR0UGH1    STEEL 


NO.  V.       CHATELAINE    WITH 
MEDAL]  [ON    AND    I  ISSEI.S 


chatelaine  (which  was  worn  passed  through  the 
waistband,  with  the  watch  .mil  tassels  both  dangling) 
is  also  found  made  "l  cut  steel,  with  Wedgwood 
medallions.  Wrought  -  steel  jewellery,  for  which 
Boulton  and  Watts,  of  Birmingham,  were  famed  in 
the  late  eighteenth  century,  is  also  represented  by 
such  chatelaines  as  that  represented  in  No.  vi.  Thi 
cist  steel  is  sunn  what  brittle,  and  this,  like  many 
examples,  has  a  link  broken. 

While   a   collection    of    really    fine    examples   of 
chatelaines  in   ^old  ami   enamel   would  In    .1   matter 


Hindi  in    reproductions— those   made   up  from    Dutch 
chased    silver   book  -  clasps    (which   are    h 
enough    and    rarely    pretend    to    be    genuine)  -and 
should   also    remember    that   a    certain    numbei    ol 
chatelaines  in   eighteenth  -  century   style  were 
about  the  middle  of  the  nineteenth  century.      1 
in   jewelled  enamel  are  at   first  sight  attractive,  but 
ii,,  11    inferiority  ol  design  and  execution  is  apparent 
on  closer  study. 

The   fob   is   distinct    from    the   chatelaine   and    the 
" equipage "  in  that  it  supports  the  watch  and  seals 


i  13 


The    Connoisseur 


alone.  While  the  chatelaine  and  the  fob  were  worn 
by  both  sexes,  the  former  was  usually  worn  by 
women   and  the  latter  by  men,   perhaps  on  account 


and  usually  contained  a  pincushion,  mirror,  minia- 
ture, perpetual  calendar,  or  vinaigrette.  It  was 
generally  made  to  match  the  real  watch  in  material 


NO.  VII.  —  FILIGREE    WATCH- 
CASE   OF   GILT    .METAL 


No.  VIII. — WATCH-CASE   OF 
SHAC.REF.N    STUDDED    WITH    MARCASITES 


NO.    IX. — FOB-RING    WITH 
BEZEL    IN    THE    FORM    OF    A    KEY 


of  its  greater  simplicity.  It  was  nearly  always  formed 
of  black  ribbon  threaded  through  metal  slides.  The 
delicate  watch  -  case  was  usually  protected  by  an 
outer  case,  sometimes  formed  of  metal  or  of  filigree 
(No.  vii. ),  and  sometimes  of  painted  horn  or  sha- 
green studded  with  gold  or  marcasites  (No.  viii.). 
Sometimes  two  fobs  were  worn,  one  supporting  the 
real  watch  and  the  other  a  dummy  watch,  or  fausse 
montre.     This  sometimes  had  an  imitation  dial-plate, 


and  workmanship,  but  occasionally  makeshift  fausses 
montres  are  met  with  formed  of  brocade  stretched 
over  a  metal  foundation  to  give  the  effect  of 
enamel.  Handsome  seals  usually  hung  from  the 
other  end  of  the  fob,  but  were  occasionally  displaced 
by  a  fob-ring — a  large  ring  of  ornate  workmanship, 
having  a  ring  for  suspension  at  the  back.  Occasion- 
ally the  bezel  is  cut  as  a  seal,  or  is  in  the  form  of 
a  watch-key  (No.  ix.). 


144 


Miscellaneous 


!R^4U 


"Georgian   Mansions  in   Ireland"' 


By    Ronald    Clowes 


One  of  the   most  encouraging  features  of 
Irish  life  of  recent  years  has  been  the  great  revival  of 
interest  in  national  art  and  archaeology.     Time  was, 
and  not  so  long  ago,  when  the  intellect  of  the  country 
appeared  almost    wholly  absorbed    in    politics  ;    the 
memorials  of  the  past  were  neglected,   and   little  or 
nothing  was   done   to  continue   artistic   and   literary 
tradition.     This  condition  of  affairs  is  now  altogether 
altered.     Irish  art  and  literature  are  showing  a  vitality 
and  freshness  of  outlook  not  to  be  surpassed  by  those 
of  any  other  quarter  of  the  British  Isles,  and  the 
beautiful  relics  of  their  former  prosperity  are  being 
described  and  recorded   by  painstaking  chroniclers. 
The  Georgian  Society  of   Dublin   has  done  yeoman 
service  in  the  latter  work.     The  four  earlier  volumes 
issued  under  its  auspices  gave  a  complete  survey  of 
the  interesting  eighteenth-century  buildings  surviving 
in   Dublin,  while  the  fifth  and  concluding  one  (kali 
— but  dealt  only  very  partially — with  the  remainder 
of  the  country.     The  committee  of  the  society  had 
caused   tours   of  inspection    to    be    made    in   every 
county,  and  nearly  three  hundred  houses   were  ex- 
amined ;   but  owing  to  want  of  space,  only  twelve  of 
these  were  fully  described  and  illustrated,  a  list  In  ing 
given  of  the  remainder,  briefly  noting  their  character- 
istics. The  exhaustive  treatment  of  the  twelve  favoured 
mansions  was   so  well  carried   out   that   it    made   tin 
nadir   wish   that   the    remainder    could    be   similarly 
dealt  with.     To  a  certain  extent  this  desire  has  been 
gratified    by  the    issue   of  the  volume   ol    Georgian 
Mansions  in   Inland,  by  Messrs.  Thomas  \\ .  Sadleir 
and  Page  I..  Dickinson,  whose  labours  so  materially 
contributed  to  tin-  success  ot   the  volumes  issued  by 
the  Georgian  Society.      The   present  work  must   b 


regarded  as  a  supplement  to  the  latter.  The  book  is 
ol  the  same  size  and  appearance,  though  its  scope 
has  been  extended  by  the  inclusion  of  objects  ol 
interest  outside  architecture.  Owing  to  this  welcome 
innovation,  pictures,  plate,  and  furniture,  including 
many  objects  of  interest  which  had  either  been  lost 
sight  of  or  the  existence  of  which  was  practically  un- 
known, are  recorded,  and  in  some  cases  illustrated. 
One,  however,  could  wish  that  this  might  have  been 
done  in  a  more  complete  manner.  In  many  of  the 
seventeen  mansions  visited,  only  the  architectural 
features  have  been  recorded;  and  while  in  others  a 
fairly  complete  list  of  the  important  works  of  art  is 
given,  the  authors  generally  content  themselves  with 
a  bare  mention  of  the  subjects  and  artists  :  in  some 
instances  even  these  scanty  particulars  are  only  par- 
tially set  forth.  These  omissions,  however,  must  nut 
be  too  severely  condemned.  Probably  the  idea  ol 
extending  the  scope  of  the  book  to  pictures  and 
objects  of  art  only  [(resented  itself  alter  tin  actual 
survey  of  the  mansions  concerned  had  been  i 
eluded,  and  consequently  then  extra  architectural 
contents  were  not  recorded  with  the  particularity 
which  would  otherwise  have  been  the  case. 

rhe   mansions  visited  have  not  all  received  equal 

treatment.      To    Abbeyleix,    the   Seat    Ol    Viscount   de 
\  i  Si  i,  only  three  illustrations  an    given,  the  ah 
of  the  owner  at  the  Anglo-German  war  having  pre- 
vented additional  pi rapbs  from  being  made.     rh< 

house  appears  tohavi  been  largely  modernised,  tho 


....      ,.;;/    Man  i  n     in   Ireland,   by  Thomas  YV.  Sai 
M    V.  M.R.I. A.,  and  Page  I..  Dickinson.     (Dublin  University 
Pri      ;  limited  to  700  copies  at  £  1   10s.) 


MS 


The    Connoisseur 


PORTRAIT    OF    THE    HON.    EDWARD   WARD   AT   CASTLE   WARD 

much  interesting  decoration  in  the  Adam  style  has 
survived  in  the  interior  apartments.  The  pictures 
recorded  include  a  few  works  of  special  interest.  A 
portrait  of  Le  Grand  Dauphin,  by  Pierre  Mignard, 
is  fully  worthy  of  the  full-page  illustration  accorded 
to  it.     There   is  also  a  fine  portrait  of  Nicholas  tic 

146 


BY    GEORGE    ROMNEY 


Launay,  by  Hyacinth  Rigaud,  and  two  portraits  by 
that  now  famous  artist,  Gilbert  Stuart,  whom  Ameri- 
cans seemed  disposed  to  regard  as  the  father  of  their 
school  of  painting.  The  artists  of  the  majority  of  the 
early  family  portraits  do  not  appear  to  have  been 
identified — a  regrettable  omission,  as  in   collections 


z 
z 
3 

_ 


3 


The    Connoisseur 


like  this  much  valuable  information  is  to  be  gleaned 
concerning  the  minor  lights  of  eighteenth  -  century 
portrait  painting. 

Beaulieu,  which  dates  back  to  1665,  retains  an  older 
appearance  than  most  of  the  large  Irish  mansions, 
for,  unlike  them,  it  docs  not  appear  to  have  been 
remodelled  in  the  eighteenth  or  nineteenth  century. 
It  is  described  as  belonging  to  the  "Caroline  "  period, 
which,  one  might  surmise,  is  an  overlooked  misprint 
for  Carolinian.  Its  internal  adornments  have  been 
more  modified,  but  still  retain  many  seventeenth  and 
early  eighteenth-century  features.  The  only  picture 
which  is  mentioned  is  one  of  the  several  portraits 
by  Reynolds  of  the  Primate  Robinson.  In  Bess- 
borough,  a  large  Georgian  mansion,  the  pictures 
recorded  are  far  more  numerous,  mention  being 
made  of  portraits  by  Romney,  Reynolds,  Cotes, 
Copley,  Hoppner,  and  other  well-known  artists.  The 
main  body  of  Caledon  also  belongs  to  the  Georgian 
period,  though  much  of  it  verges  on  the  extreme 
limits,  and  there  have  been  substantial  additions  of 
a  still  later  date.  Its  interior  presents  many  fine 
examples  of  the  Adam  style  of  decoration,  which 
appears  to  have  attained  an  even  greater  vogue  in 
Ireland  than  the  sister  island.  Perhaps  it  is  best 
illustrated  at  Curraghmore,  where  the  principal  draw- 
ing-room and  the  dining-room  are  singularly  complete 
examples  of  the  style  at  its  best,  walls,  panelling,  and 
ceiling  being  all  ornamented  in  it.  The  illustration 
of  the  Curraghmore  dining-room  (reproduced)  gives 
a  good  idea  of  the  beauty  of  the  work.  The  panels 
on  the  walls  are  decorated  in  monochrome  by 
De  Gree,  an  artist  who  was  also  responsible  for 
similar  panels  in  the  drawing-rooms.  Some  semi- 
circular panel  compartments  in  the  larger  of  the  two 
drawing-rooms  are  said  to  have  been  painted  by 
Zucci,  the  husband  of  Angelica  Kauffman.  Furness 
and  Heywood  also  contain  good  work  of  the  Adam 
style.  Curious  to  say,  the  only  house  in  which  one 
of  the  Adam  brothers  is  stated  to  have  been  per- 
sonally concerned  is  Castle  Upton,  the  exterior  of 
which  presents  none  of  the  characteristics  of  their 
typical  manner.  The  main  block  of  this  castellated 
mansion  dates  from  161 1,  when  it  was  erected  so 
as  to  incorporate  a  still  earlier  building.  Robert 
Adam  was  employed  in  its  renovation,  and  in  all  his 


outward  additions  adhered  to  the  original  style  of 
architecture.  In  a  mausoleum  he  erected  in  the 
adjoining  churchyard  in  1783,  he  followed  his  usual 
bent  for  classicalism,  and  the  edifice,  though  now 
somewhat  neglected,  is  well  worthy  of  illustration  as 
a  good  example  of  his  typical  manner. 

One  must  not,  however,  give  undue  preponderance 
to  the  examples  of  the  Adam  period,  as  other  styles, 
both  Georgian  and  of  earlier  date,  are  also  well 
exemplified.  Castle  Ward  has  the  peculiar  distinction 
of  having  "one  front  of  pure  classic  architecture  and 
the  other  of  Gothic,"  the  interior  of  the  house  also 
exemplifying  both  styles.  Florence  Court,  perhaps 
the  finest  mid-Georgian  mansion  to  be  found  in 
Ulster,  is  noteworthy  not  only  for  its  fine  exterior,  but 
also  for  containing  "a  wonderful  display  of  elaborate 
yet  graceful  plaster,  rococo  in  style,  though  by  no 
means  identical  with  the  Dublin  work  of  the  period." 
The  illustrations  of  the  beautiful  ceilings  and  panels 
which  exemplify  this  lend  confirmation  to  the  sug- 
gestion that  it  was  probably  executed  by  "  plasterers 
specially  imported  from  France."  Platten  Hall  con- 
tains a  noble  hall  and  staircase,  and  several  fine 
apartments  belonging  to  the  earlier  Georgian  period. 
Turvey,  while  chiefly  illustrating  the  same  period, 
retains  many  Jacobean  features.  What  the  hand  of 
the  restorer  has  spared  of  the  original  Archbishop's 
Palace  at  Cashel  is  also  early  Georgian ;  while  in 
Desart  Court — noteworthy  for  possessing  two  hand- 
some grand  staircases,  situated  at  either  end  of  the 
house — the  general  style  is  somewhat  later. 

Turning  from  the  mansions  to  their  contents,  one 
finds  many  objects  of  interest  mentioned,  and  not  a 
few  illustrated.  At  Heywood  there  is  a  fine  silver 
punch-bowl,  made  in  London  by  Anthony  Nelme, 
and  bearing  the  hall-mark  of  1700,  which  is  said  to 
have  been  used  by  the  notorious  Hell-Fire  Club ;  and 
the  well-known  portrait  of  John  Musters,  by  Rey- 
nolds. Caledon  contains  several  important  works  by 
old  continental  masters,  as  well  as  numerous  family 
portraits  and  full-lengths  of  George  III.  and  Queen 
Charlotte  by  Sir  Thomas  Lawrence,  which  were  pre- 
sented by  the  king  to  the  second  earl.  It  is  interest- 
ing to  note,  that  though  the  commissions  for  these 
two  pictures  were  noted  in  Sir  Walter  Armstrong's 
recent  life  of  the  artist,   their  present  whereabouts 


148 


'•Georgian  Mansions  in    Ire/and" 


PORTRAIT  OF  SIR  FRANCIS   BLAKE  DELAVAL  AT   CURRAGHMORE  ■       I         OSH  REYNOL1  P.R.A. 

mentioned  in  connection  with  its  line  Adam  di 
tions.    Here  are  several  important  work         >      nolds, 
including  the  full-length  of  Sir  Frai  Delaval, 

painted  1 7 5 7-S.  and  portraits  -1  <  laptain  1  ><  laval  and 
Rhoda  Delaval,  LadyAstley;  Marcus,  Lord  le  I 


was  apparently  unknown.     At  Florence  Court,  of  a 

number  of  objects  of  interest  a  fine  lacquer  screen 
with  tapestry  panels  is  selected  for  illustration  ; 
but  perhaps  the  mansion  with  the  most  interesting 
contents  is   Curraghmore,    which    has    already   been 


1 49 


The   Connoisseur 


SCREEN     IN     DINING-ROOM      \l      FLORENCE    COUR1 

1  iy  ( iainsborough,  and  some  of  the  artist's  pastels ; 
and  works  by  Lawrence,  Nathaniel  Hone,  and  Down- 
man,  as  well  as  by  some  of  the  foreign  old  masters, 
headed  by  Rubens. 

The  enumeration  of  the  important  pictures  in 
other  of  the  mansions  would  take  too  much  space. 
Mention,  however,  may  be  made  of  the  portraits  of 
the  Hon.  Edward  Ward  and  his  wife,  Lady  Arabella, 
by    Romney,    at    Castle    Ward,   and  the   portrait  of 


the  Primate  Robinson,  by  Reynolds,  at  Beaulieu. 
Altogether  well  over  a  hundred  pictures  are  noted  by 
about  half  that  number  of  artists.  This  phase  of  the 
compilers'  work  is  one  of  great  importance,  and  its 
inclusion  adds  greatly  to  the  interest  of  the  volume. 
It  is  to  be  hoped  that  the  latter  may  form  the  first 
of  a  long  series,  for  a  complete  account  of  the  chiel 
country  mansions  of  Ireland  and  their  contents  would 
be  a  most  valuable  addition  to  our  national  literature 


LA   PETITE    FILLE    AU    CHIEN 

FROM    THE    ENGRAVING    BY    LOUIS    MARIN 


Chinese 
Art 


Objects  of  Chinese  Art,  at  the 
By  Egan  Mew 

Were  evidence  needed,  the  present  exhibition 
would  plainly  show  that  collectors  in  England  have 
unusually  swift  in  adapting  their  taste  and  skill 
to  the  rapid  increase  of  knowledge  which  has  been 
vouchsafed  to  us  during  the  last  twenty  years  in 
i  :gard  to  early  Chinese  art.  For  my  part,  so  loosely 
general  or  so  nobly  catholic — as  you  will — is  my  taste 
that  I  can  enjoy  the  work  of  this  vast  and  complicated 
land  from,  say,  the  most  original  object  of  the  H^ia 
dynasty  (more  than   2,000  years  B.C.)  even  unto  the 


Burlington  Fine  Arts  Club 


cleverest  copies  made  in  the  technically  gifted  | 
of  Ch'ien  -  lung,   and  right  down  to   1820  of  Chia- 
ching.     Doubtless   such   a  liberality  ■  annot 

be  defended  ;  in  any  cim-,  the  passion  of  the  connois- 
seurs of  the  Burlington  I'm-  Arts  Club  is  for  tin 
mysterious  periods  of  ages  ago.  when  Chinese  art  was 
pure  and  utterly  unexpectant  of  any  defiling  Western 
influences. 

Thus  a  visit  to  17.  Savile  Row — and  one  is  inclined 
to  go  again  and  again — is  a  sort  of  magic  transference 


NO.    I-        \    BUDDHIS1     PRIEST.      I    VRVED     \M>    LACQUERED    WOOD.       MING    DYNASTY,  8j    IN.  No     2.        IN    EM 

ENTHRONED.       I    \l;\  r  I  >  IVORY,   FORMER!   i    PAINTED  ;    THE    I  \KI  I.  I    HELD  I1EFORE  HIM   IS   i  MING  DYNASTY, 

S,1,     in.                           NO       |        Kl    W-ll,    WAR-GOD,    SEATED   ON     \     rHRO     E.        i    VRVED    AND  '    WOOD,         MING 
DYN  IS'l  V.    Sj    IN.            \l  I     I  I.N  I     BY    MR.     I.     |. 

'53 


The    Connoisseur 


fro  m  the  awfu  I 

world  of  to-day  to 
a  semi  -  mythical 
realm  represented 

by  beautiful  things 
rather  than  vile 
and  unwise  men. 
If  one's  taste  be 
for  the  rare  and 
purest  forms  of 
Chinese  art,  per- 
haps the  most 
interesting  ex- 
ample among  the 
many  hundreds  of 
fin  e  specimens 
will  be  the  blaek 
and  dark  grey 
jade  recumbent 
horse  sent  by  Mr. 
O.  C.  Raphael. 
Our  once  welcome 
guest,  Dr.  Sven 
Hedin,  has  spoken 
<>t  a  village  known 
to  his  travels  as 
"  The  Boulder  of 
Black  Jade,"  and 
it  is  thought  by 
the  present  owner 
of  the  horse — 10  inches  in  length  and  i>\  inches  in 
height — that  this  may  be  the  actual  piece  of  metal 
which  gave  its  name  to  the  place,  for  the  history  of 
jade  does  not  tell  of  the  discovery  of  any  other  such 
boulder.  In 
the  catalogue 
of  the  present 
exhibition  it  is 
mentioned  that 
the  white  jade- 
dragon  -  horse, 
shown  close 
by,  and  the 
buffalo,  of  mot- 
tled green  jade, 
on  an  adjacent 
pedestal,  all 
stood,  until 
fifteen  years 
ago,  in  a  corri- 
d  o  r  of  the 
palace  of  Pe- 
king. The  buf- 
falo and  horse 


WHIIEJADE    DRAGON-HORSE    (LUNG-MA) 


MOTTLED   GREEN   JADK    RECUMBENT   BUFFALO         A    BOULDER   OF    EXCEPTIONAL 

SIZE  PERHAPS   OF   THE   SIXTH    CENTURV    A.D.  LENGTH,    l6    IN.:    WIDTH, 

II    IN.  ;    HEIGHT,  6i    IN.  LENT    BY    MR.  O.  C.   RAPHAEL 


were  brought  to 
Peking  when  that 
city  was  made  tin- 
capital  of  China 
early  in  the  Ming 
dynasty.  It  is  un- 
certain how  old 
they  are.  A  manu- 
script catalogue 
that  existed  in  the 
palace  stated  them 
to  date  back  to 
I  lie  Han  dynasty 
(206  B.C.  to  220 
B.C.),  but  the 
horse  is  not  likely 
to  be  older  than 
the  Sung  (960  a. n. 
tn  1  279  a.d.).  The 
buffalo  belongs  to 
an  earlier  date 
t  h  a  n  t  h  e  h  o  r  s  e. 
These  two  were 
used  annually  in 
a  sacred  festival. 
Kang-hsi,  inspect- 
ing the  contents 
of  his  palace  in 
l  h  e  e  a  r  1  y  y  e  a  r  s 
of  his  reign,  was 
shown  these  two,  and  inquired  how  it  was  that  the 
dragon-horse  that  brought  the  Books  of  Knowledge 
from  over  the  waves  of  the  Ya-lu  was  not  repre- 
sented :    this    dragon-horse   was   therefore    made    for 

the  emperor, 
with  the  Books 
of  Knowledge 
at  its  side,  of 
the  t  h  en  fash- 
ionable white 
jade.  S  u  c  h 
definite  infor- 
mat  ion  in  re- 
gard to  actual 
e  x  a  m  pies  o I 
a  n  t  i  q  u  e 
I  Ihinese  art  is 
a  great  refresh- 
ment in  the 
wilderness  of 
vague  attribu- 
tions and 
doubtful  dates 
which   must  of 


LENT    BY    MR. 


154 


c  * 

2  2 

—  j-        > 

7  „       a 


:    _ 
/     - 


■i 


l.     -     '-- 


r*l 


- 


z'.     5 


: 


155 


The   Connoisseur 


TWO    PANELS   OF    HARK    BROWN    LACQUER    INCISED    WITH    COLOURED    DESIGNS 

K'ANG-HSI  HEIGHT    (EACH),    22f    IN.;    WIDTH,   Ili    IN.  LENT 


EARLY    PART   OF    THE    REIGN    OF 
BY    MR.   R.   H.   BENS!  IN 


necessity  surround  all  knowledge  of  the  earliest  ex- 
amples. Although  many  careful  students  of  the 
subject  are  enabled  to  justly  say,  as  of  Mr.  Eumor- 
fopoulos's  bronze  vase,  with  an  inlay  of  scrolls  of 
gold,  silver,  and  malachite,  for  example,  that  it  belongs 
to  the  Sung  dynasty,  other  bothered  authorities  will 
envy  Mr.  John  Lane's  simplicity  of  statement  that  his 
album  in  colour,  on  silk,  is  of  the  Ming  dynasty — a 
fairly  long  one,  by  the  way,  and  including  very  diverse 
work  in  our  fifteenth  and  sixteenth  centuries — or  Sir 
Ian  Hamilton's  brief  statement  that  his  picture-roll  of 
scenes  in  a  palace  garden  is  "after  Ch'iu  Ying." 

For  must  people  the  beauty  and  attraction  of  a 
collection  which  includes  bronzes,  cloisonne  and 
champleve  enamels,  jade,  sculpture,  paintings,  ivories, 
and  textiles  of  so  much  historical  interest,  will  seem  a 
sufficient  least:  but  the  writer  of  the  preface  to  the 
catalogue,  presumably  Sir  Hercules  Read,  is  in  a 
somewhat  apologetic  mood.  He  fears  that  our  col- 
lectors have  been  somewhat  laggard  as  compared 
with    the    intense    enthusiasm   of   their    French    and 


American  rivals.  Of  course,  he  knows  just  how  far 
the  examples  in  England  fall  short  of  his  ideal ;  but  I 
must  own  that  when  one  considers  the  pottery  ami 
porcelains  exhibited  here  in  1910,  and  the  vast 
quantity  of  works  now  shown,  one  is  forced  to  the 
conclusion  that  our  connoisseurs  make  an  uncom- 
monly good  third  in  the  race  for  the  specimens  of 
old  arts. 

It  would  be  unprofitable  to  take  each  of  the  finest 
pieces  now  shown  and  describe  them  to  the  reader, 
for  there  is  no  doubt  that  with  collectors  of  early 
Chinese  work,  those  who  can  obtain  such  el' 
already  know  their  inner  history  and  where  they  are, 
and  the  extreme  improbability  of  any  analogous 
specimens  now  drifting,  by  chance  as  it  were,  upon 
the  markets  of  men.  Then  with  Chinese  art  there  is 
always  the  rather  depressing  fact  that  most  of,  may 
one  say,  the  great  crafts,  were  perfected  beyond  all 
hope  of  further  development  many  hundreds  of  years 
ago.  The  beauties  of  jade-carving,  for  example,  were, 
as  who  should  say,  completed  in  the  T'ang  and  Sung 


is6 


Objects  of  Chinese  Art 


EWER    IN    THE    FORM    OF    AN    ANCIENT    SACRIFICIAL    WINE-VESSE1     (HUO) 

BRONZE  WITH    [NLAY   OF  GOLD  AND  SILVER  SUNG    DYNASTY 

HEIGHT,   II    IN.  LENT    BY    MR.  G.   EUMORFOPOULOS 


dynasties,  more 
than  six  centuries 
past.  The  great 
collectors  of  paint- 
ing are  not  proud 
of  examples  after 
the  fifteenth  cen- 
tury, and  on  e 
regrets  the  same 
standard  of  time 
applies  to  many 
other  arts.  But  if 
one  may  glance  at 
the  conclusions  of 
the  many  accom- 
plished writers  of 
the  introductions 
to  the  present 
catalogue,  it  will 
be  found  that 
s  o  ill  e  at  least 
exquisite  ex- 
amples of  all  the 
works  of  the 
Chinese  are  here 
gathered  together. 

The  early  bronzes  are  certainly  splendidly  repre- 
sented, especially  in  the  department  of  sacrifii  ial 
objects,  which,  from  the  very  nature  of  their  material 
as  well  as  from  the  devotion  of  the  races  which  pro- 
duced them,  out-last  time  and  record  the  aspirations 
of  long-forgotten  peoples.  The  most  ancient  form  ot 
bronze  isgenerally 
held  to  be  the 
ting,  usually  a 
round  vessel  on 
three  legs,  with 
ci  iver  decorated  in 
various  ways,  so 
that  when  reversed 
it  forms  a  dish. 
Various  types  ol 
ting  are  lent  by 
Mr.  1 1  a  r  (1  1  n  g- 
Sm  itli,  M  r.  I .  ii 
morfopoulos,  and 
Professoi  Norman 
Collie,  all  of  his- 
torical inten  ;1 
and  undoubted 
beauty.  Thesacri 
tieial  wine  jars  are 

i,   ii    will    repre- 
sented.    These 


,  ,,. REEN     |ADE  SEAL,    I      ED   B1     ['HI      l-ATI      I     II'RI 

mi.     CHARACTERS      READ:     "  INSPECTF.D      \N|.      ENJOYED     IN      1  III. 

,,,   .K>,   ...     ,      :    ,     |  mm     BY    MR.  ".  e.    RAl'HAl  I 


tsun  ai  -    el  almost 

indefinite  variety 
ol  foi  in,  birds  and 
animals  being 
adapted  to  the 
pur  po  5e  alter  a 
ion  mail 
i.illy  known 
by  many  mod.  m 
i  .  ipies    or    uses    of 

tin-  cla  ipes. 

Mr.  Ellice  -  Clark 
si  nils  an  earl} 
Ming  pii  ce  in  the 
form  of  .i  duck, 
with  vase  on  its 
back  ami  an  arch- 
ing handle  ;  ami 
Colonel     Douglas 

Mai  Eweil  another 
of  the  s  a  m  e 
dynasty,  in  tin 
i,,:  in  uf  a  doubtful 
animal,  of  which 
the  surface  ol 
thebodyisin 

with  delicate  line  ornament  and  the  head  ami  neck 
inlaid  with  line  -old  wire.  These  two  early  classes 
of  work  are  followed  by  a  large  number  ol  decoi 
bronze  objects  connected  with  religious  services,  many 
of  which,  such  as  the  silver  wine-cup  of  theT'ang  period, 
lent  by   Mr.   G.   Eumorfopoulos,  are  uf  tin-  greatest 

value,  historically, 
jesthetically,  and 
archaeological  ly. 
Bronze  is  the  earli- 
est and  one  of  the 
best   le  ]ire  si  i 

branches  of  ail  at 
Savile   Row. 
Enami  Is,    both 

elo  i  son  n  e    a  n  il 

rh. i  in  ple\  •  .  an 
exhibited   from 
i  In    1 1  nr    i  'i  i  In 
Mm-   il  y  n  a  st  y 
in  modern  dates. 
As  with  in" 
thearts,  th 
pieces    show    a 
breadth 
ami   richness  and 
plainness  whii 
mi: 


'57 


The    Connoisseur 


higher  technique 
and  sophistica- 
tion. "Simplicity, 
of  all  things,"  said 
an  eighteenth-cen- 
tury writer  who 
knew  the  world, 
'•  is  the  most  diffi- 
cult thing  to  be 
copied."  In  re- 
gard to  the  jade 
thisaphorismneed 
not  bother  us. 
The  beautiful 
work  in  the  exhi- 
bition, made  from 
various  forms  of 
jadeite,  marks  dif- 
ferent periods  by- 
showing  slightly- 
diverse  kinds  of 
this  lustrous, 
polished  metal,  or 
resonant  stone. 
Thus  the  accom- 
plished connois- 
seur can  tell  pretty 
well  whether  an  example  originally  came  from  Eastern 
Turkestan  or  has  been  quarried  in  Burma.  The  many 
uses  which  the  Chinese  courts  found  for  jade  have 
enabled  collectors  to  bring  remarkable  specimens 
ti  igether,  and  this  department  of  the  Chinese  arts  alone 
is  immensely  rich  in  informing  examples.  Almost 
all  the  contributors,  from  Her  Majesty  the  Queen 
downwards,  send  fine  pieces. 

But  in  this  short  review,  which  is  primarily  intended 
to  encourage  all  those  who  may  chance  to  read  it  to 
visit  the  actual  works,  we  must  hurry  on,  and,  in  re- 
gard to  sculpture,  merely  point  to  the  extraordinary 
achievements,  both  early  and  late,  in  this  department. 


KOX   OF    YE]  LOW     BRONZE,  LINED  WITH 
DIAM.,  6    IN.  :    HEIGHT,  2\    IN. 


The  finest  pieces 
are  of  the  T'ang 
dynasty,  such  as 
the  head  of  a 
statue  in  basalt 
sent  by  Mr.  Schil- 
ler ;  but  there  are- 
many  later  pieces 
of  infinite  attrac- 
tion. 

In  carved  and 
p  a  i  n  t  e  d  wood 
there  is,  amongst 
other  examples,  a 
splendid  T'ang 
Buddhist  lion,  lent 
by  Mr.  Musgrave 
1  )vne. 

Paintings  and 
textiles  are  not 
very  elaborately 
shown,  but  there 
are  beautiful  ex- 
amples of  Ming 
pictures  ;  and  the 
rugs  and  mats 
and  fine  silks  and 
embroidered  fabrics,  which  reach  to  an  almost 
modern  date,  such  as  some  also  sent  by  Mr.  Dyne, 
fulfil  the  lust  of  the  eye  to  perfection.  Most  of  the 
lacquer,  too,  is  of  modestly  recent  periods,  and  inter- 
ests us  all  the  more  on  that  account,  because,  if  ever 
again  there  should  be  time  for  collecting,  it  might  be 
possible  still  to  find  such  specimens.  As  well  as  his 
early  ivories,  Mr.  Joass,  for  example,  sends  a  circulai 
table  of  gold  lacquer  painted  with  black  line  figures, 
such  as  we  have  written  of  in  The  Connoisseur.  It 
is  spoken  of  as  being  made  for  the  European  market 
about  1S00.  I  think  I  could  prove  that  the  stand 
had  been  so  produced,  but  the  top,  of  gold  and  blai  k. 


BLACK    LACQUER  MING    DYNASTY 

LENT    BY    MR.  0.   C   RAPHAEL 


PAIR    OF    BOWLS    OF    PEWTER    COVERED    WITH    GOLD    LACQUER    AMI    SHELL    INLAY,    SHAPED    AS    CONVENTIONAL   LOTUS 
WITH   MX  PETALS         PROBABLY  OF  THE  MING  DYNASTY        HEIGHT,  4 \  IN.  :    DIAM.,  qi   IN.       PENT  BY  MR.  k.   II.  BENSl  >N 

158 


Objects  of  Chinese  Art 


was  intended  for 
Chinese  use.  Of 
laqut'  burgautee, 
to  which  t h i s 
magazine  has 
also  devoted  an 
article  or  two  in 
the  past,  there 
are  many  charm- 
i  ng  exam  pies, 
n  o  n  e  m  ore  at- 
tract ive,al  though 
many  arc  earlier 
perhaps,  than 
Mr.  Clifford 
Smith's  table 
screen  of  the 
eighteenth  cen- 
tury. 

But  the  only 
real  criticism  of 
this    exhibition 


BLACK    AND    DARK   GREY   JADE    RECUMBENT    HORSE  THIS   IS  THE   ONLY 

KNOWN    HISTORICAL   BOULDER    OK   BLACK   JADE  LENGTH,   IO   IN.  ;   WIDTH, 

45  IN.  :    HEIGHT,  6h    IN.  LENT    BY    MR.  O.   C.    RAPHAEL 


worth  writing  is 
the  modest  ad- 
vice  tn   go  and 

see   it.  and   learn 

from  t  h  e  e  \- 
amples  some- 
thing of  the 
subtle  art  which 
generation  after 
generation  has 
inspired  tlii 
derful  nation 
which  we  call  the 
Chinese.  As  to 
periods  and  at- 
tributions, one- 
must  go  gen 1 1  y 
forward. 

"  1  urgeries  are 
not  a  modern 
invention,"  says 
one   of  the  able 


rwO    rs'UNG,  OBJEI    rS   CONNEI    I1H    WITH     HIE    CEREMONIES   OF    IIIE   WORSHIP    hi  IIIK    l'KII\     I 

■in      Mil      111   I,     GREY-GREEN     IA1H,      ITTRIBI    111'     I"     IIIE     CHOU     DYNASTY  HEIGHT,   8 

ON    THE    Kin  III',    "  YELLOW  "  JADE,     ILSO     VTTRIB1 0  Till     CHOI      DYNASTY  HEIGHT,   8}   IN. 

BOTH    I  IN  l     BY    MRS.    G.    EUMORFI  IPI  11 


'59 


The   Connoisseur 


introducers  of  this  ex- 
hibition. Of  course. 
that  fact  is  well  known, 
hut  it  shoul  d  1)  e 
especially  recalled  in 
regard  to  Chi nese 
work.  For  in  this  case 
the  very  virtue  of  the 
worship  of  ancestors 
and  the  ancestorial 
arts  led  in  each  more 
or  less  well -defined 
period  to  an  immense 
amount  of  copying 
and  re-copying  from 
whatever  was  then  the 
antique  model.  Fash- 
ions of  the  moment 
or  the  century,  how- 
ever, had  some  effect 
upon  those  artists  who 
desired,  for  just  or 
unjust  causes,  to  re- 
peat  the  victories  of 
their  forefathers.  And 
thus  one  of  the  most 
interesting  points  in 
regard  to  Chinese  art 
— a  p  art  from  its 
beauty,  which  runs 
through  all  periods — 
is  the  quest  of  that 
particular  knowledge 
which  shall  enable  the  collector  to  tell  whether  he  is 
getting  the  object  of  art  of  the  period  he  desires,  or 
one  that  some  later  artist  has  seen  fit  to  produce  in 


HAM. INC,    PICTURE,    TAl 
PERIOD   OF   CH'lEN    LUNG 


the  earlier  manner. 
There  are  signs,  and 
many  of  them,  by 
which  such  things  shall 
be  known.  But, 
Mr.  Laurence  Binyon 
says  in  regard  to  the 
pai  nt  ings,  of  which 
there  i-  a  small  but 
extremely  interesting 
collection,  "  <  'Iviett 
Shun  -  chii's  .signature- 
occurs  on  no  less  than 
five  paintings  in  this 
exhibition,  obviously 
by  quite  different 
hands,  a  circumstance 
which  il lust  ra  I  es  the 
diffic ul ties  beset- 
ting the  innocent 
student." 

II"  such  personages 
still  remain,  the  Bur- 
ling t  o  n  F  i  n  e  Arts 
Club,  notwithstanding 
its  frequent  "  prob- 
ably Ming,''  "Sung 
dynasty"!?),  and  so 
forth,  has  done  much 
this  year  to  lead  the 
lover  of  the  beautiful 
through  the  mazes  of 
that  Oriental  garden 
of  delights  which  the  Chinese  cultured,  unintention- 
ally, for  our  benefit,  long  ages  before  we  had  any 
artistic  existence. 


ESTRY    WOVEN     '  K'l  l-SSti  I 
LENT    BY    MRS.   K.   II.  BENSON 


[Some  further  illustrations  of  remarkable  pieces  in  this  exhibition 
will  be  found   in   our  next  issue.] 


1 60 


OTES 


bUER/£r5 


[T/ie  Editor  invites  the  assistance  of  readers  (/The  Connoisseur  who  may  be  able  to  impart  the 

information  required  by  Correspondents.} 


Unidentified  Painting  (No.  183). 
Dear  Sir, — I  am  sending  a  photograph  of  a 
picture  which  is  painted  on  a  panel  of  evident  age 
(old  oak,  I  think).  It  measures  7^  in.  by  gi  in.  It 
is  very  finely  done.  The  background  is  dark  brown, 
and  the  man's  hat  is  red  and  the  feather  white.  The 
woman's  rap  is  white,  as  also  is  the  lace  of  the  man's 


collar  and  cuffs.  The  breeches  an-  brownish  yellow. 
There  is  no  signature,  as  tar  a>  I  can  tell.  Do  you 
think  you  can  tell  me  anything  about  this  ? 

Yours  faithfully.    W.   li.  Dufi  ILL. 

Old  Sea  Chl>i   (No.    184). 
Dear  Sir, — Can  you  give   me  any  assistance   in 


(183)  UNIDENTIFIED      PAINTINfi 

l6l 


The    Connoisseur 


tracing  the  history  of  a  sea  cbest,  photograph  of 
which  I  enclose?  I  recently  obtained  the  chest  in 
the  country,  but  can  obtain  no  history  from  the 
former  owner.     The  outside  of  the  chest  is  painted, 


and  so  possibly  there  may  be  some  record.  I  shall 
be  very  pleased  if  you  can  put  me  in  the  way  of 
obtaining  any  information. 

Yours  faithfully,   Arthur  E.  Relph. 


(i  84) 


OLD     SEA    |CHEST 


and  has  on  the  front,  in  an  oval,  a  monogram  in  gold, 
H  N.  On  the  outside  of  the  lid  is  a  painting,  in  oils, 
of  a  naval  battle,  which  is  surrounded  with  dolphins 
in  gold.  On  the  inside  of  the  lid  are  Lord  Nelson's 
arms  in  colour,  within  a  border  of  inlaid  woods.  The 
interior  of  the  chest  is  fitted  with  drawers  and  sliding 
^<  1  lions,  elaborately  inlaid;  the  lining  is  mahogany, 
and  the  sections  slide  on  ebony  runners.  Can  you 
tell  me  if  there  is  any  record  of  such  a  chest,  or  if 
there  is  any  way  in  which  the  connection  with  Lord 
Nelson  can  be  established?  The  general  style  of 
the  chest  would  suggest  its  having  been  a  presentation, 


Unidentified  Portrait  (Xo.  185). 
Dear  Sir, — I  have  been  a  regular  subscriber  to 
your  magazine  for  a  good  many  years,  and  I  shall 
feel  much  obliged  if  you  would  submit  to  your 
readers  the  enclosed  photograph  of  a  portrait,  said 
to  be  by  Sir  Thomas  Lawrence,  in  the  hope  that 
it  may  be  identified.  The  portrait  is  in  my  pos- 
session, and  I  shall  appreciate  any  comments  which 
you  or  your  readers  may  make  upon  it.  It  is 
on  canvas,  original,  and  measures  3  feet  by  2  feet 
3  inches. 

I   am,  dear  Sir,  yours  faithfully.   A.  S. 


162 


*  BPtea 


fitf 


3 


z 


U3      3 
5     ^ 

o    « 


X 


-    > 


Notes   and   Queries 


uniden1  ii  iii' 
Painting 
(No.  1 86). 

Dear  Sir,  —  I 
have  purchased  a 
very  interesting 
picture,  and  have 
been  recommend- 
ed to  send  you  a 
photograph  of  it, 
to  see  if  you  could 
trace  the  artist, 
also  give  me  an 
idea  of  the  sub- 
ject. I  have  been 
a  collector  of  an- 
tiques for  some 
years,  and  possi- 
bly you  will  re- 
in ember  that  I 
purchased  the 
Bala  Vase  about 
two  years  ago, 
w  h  i  c  h ,  at  t  h  e 
time,  created  a 
considerable 
a  m  mi  n  t  of  in- 
terest. I  may 
mention  that  the 
miniature  at  tin 
top  of  the  picture 
is  a  very  beautiful 
piece  of  work,  and 
1  think  it  is  one 
of  the  Dukes  of 
M  a  r  lb  o  r o  ugh. 
But  this  is  only 
my  i  dea  :  1  nun- 
be  quite  wrung. 

Vours  faithfully, 

William  Ovvi  v 

Unidentified 
Portrait 
(No.   is; 
I  (ear  Sir,  —  I 

should  lie  glad  if 
any  of  your  read- 
ers could  advisi 
me  .t-  i' '  ili-  ,ini>t 
and  subject  of  the 
portrait  of  which 

I     send     photo- 
graph. The  length 


(185)        unidentified    portrait 


(186)        unidentified    paintini 

165 


ol  the  oil-painting 
is  36  m.  by  28  in. 
On  the  left  side  is 

,r   1  town  and    jars 
oldfish;   in 
the  left   hand   is 
a   roll    of   music, 
■•  Fall  of  Paris." 
Vuuii  truly. 
1  Mr-.  1  Mar-, 
A.  Haw  kin. 

Unidentified 
Portrait 
(No.  1751. 
Ma  v.  1 915. 
Dea  r  Sir,  — 
I'he    photograph 
ol  lire  unideiltili'  d 
portrait  of  a   lady 
in   sixteenth  -  cen- 
tury dress  (No. 
175)  appears  to 

iiM  to  lie  taken 
from  a  painting 
by  Bernard  Van 
Orley,  of  the  old 
Flemish  school,  or 
by  a  follower  or 
pupil  of  Van  ( >r- 
ley's.  It  doe 
impress  me  as 
having  any  con- 
nection with  Hol- 
bein, as  ih'  owner 
thinks.  I  could 
not   say    ll    it    is   .1 

nine  W  01  li 
the  painter-,  a 
ci  ipy,  or  b)  a  pupil 
of  Van  ( trley's,  un- 
less I  could  ex- 
amine il  -  .n  'fully 
in  .1  good  light  : 
but  it  undoul 
ly  has  all  Van 
Orley 's  manner 
of  paint  i  ng.  ll 
would  be  very  dif- 

llt,    1    think,    to 

identify  t  he   lad} 
portrayed  in  the 

I'll   Hill 

T  rusting  the 


The   Connoisseur 


owner  of  the  picture  may  gather  sonic  further  infor- 
mation from   my  opinion, 

I   remain,   Sir,    yours  faithfully, 

Walter  S.  Green. 

Unidentified   Paintings  (Nps.   179  and  180), 
May,    1915. 

Dear  Sir,  —  In  your  May  number,  under  "  Un- 
identified Portraits  and  Pictures,"  No.  179  is  a 
pii  ture  styled  Marion,  by  Ponce,  after  Baudouin, 
one  of  a  set  of  four  charming  ovals,  a  print  of  which 
I   possess,  and  a  description  of  it  is  given  in  French 


Prints,  by  Ralph  Neville,  painted  towards  the  end  of 
the  eighteenth  century,  probably  about  1780. 

Yours  faithfully,   George  Dixon. 

Rembrandt's  "  Betrayal." 
Dear  Sir, — Can  any  of  your  readers  tell  me  the 
present  or  last-known  owner  of  a  painting  by  Rem- 
brandt entitled  The  Price  of  the  Betrayal?  Is  it  in 
a  private  collection  or  in  a  National  Gallery?  By 
giving  me  all  possible  information  as  to  its  where- 
abouts you  will  greatly  oblige 

Yours  truly,   Lilian  Wilson. 


(187)  UNIDENTIFIED     PORTRAIT 


166 


Cottenham,  Cambs.,  the   Ancestral  Home  of  the 
Pepys  Family 

Through  the  courtesy  of  a  contributor  to  The 
(  ONNOISSEUR,  we  are  enabled  to  print  the  following 
account  of  the  ancestral  home  of  the  Pepys  family, 
which  is  extracted  from  a  MS.  Journal  of  Wander- 
ings in  Search  of  the  Picturesque  between  Cambridge 
and  Ely.  As  our  contributor  made  his  notes  in  the 
ea  rly  eighties, 
readers  must 
not  take  state- 
ments to  "pre- 
sent  time  "  in 
a   literal  sensi  . 

"The  chief 
relic  nl   aim- 

1 1  u  i  t  y  1  ii  lie 
seen  in  <  "ottcll- 

ham  in  the  old 
1  L  o  r  d  s  h  i  p 

H  o  u  s  e,'  a  n 
ami  ent-look- 
ing  st  ni  ctu  re 
standing  back 
some  short  dis- 
tance from  i li- 
ma i  n  street. 
.\  connection 
may  In-  trai  i  d 
between  this 
a  n  d  S.i  m  ii  e  1 
Pepj  s,  thi  ci 
brati  d  diarist. 
T  li  e   I  a  m  i  1  y 

0  f     I'  i     p  y  s, 

1  I'D  111       W   ll   1    I      ll 

the  benefai  tor 
of  Magda- 
lene <  'ollege  is 


PAIRCASl       IN     '"II  ENH  \  \I 
l67 


considered  to  haw  descended,  settled  in  Cottenham 

during  the  early  part  of  the  sixteenth  century,  and 
it  is  not  at  all  improbable  that  the  '  Lordship 
House'  was  built  by  them.  An  entry  in  the  diarj 
runs  thus  : — 

"  •June  1 2  th,  1667 :  .  .  .  .  I  met  Roger  Pepys,  newly 
come  out  of  the  country:  in  discourse  he  told  me 
that  his  grandfather,  my  great-grandfather,  had  800/. 

pei  ami u  111  in 
Queene  Eliza- 
beth's 1 1  m  e  in 
the  \  ery  town 
of  ( Tottenham  ; 
and  that  we 
did   cert. i  inly 

com  e  11  ut  ni 
Scotland  wi  t  h 
the  Abbol  ol 
C  r  o  w  land.' 
This  pro vi 
that  Sa  in  in'  I 
Pi  |i\  s's  ances- 
had  been 
su  ffi  c  iently 

wealthy  1 1 

stunt  sinll  a 
h  a  n  d  s  o  m  e 
building  as  the 
•Lordship 
1  Ii luse  '  once 
was.  Am 
entry,    made 

J  Ulle     I  III  li    ol 

the     imi 
sa\  s  .     -■  I ' 

1 y  s    told 
Hie.   thai 
I    come    to 
Ii  is  him  se  In 
will  show  nn-  a 


I.Ol   D    III!'     IIOCSE 


r. 

< 


Z 


168 


Notes 


decree  in  Chancery,  wherein  there  was  26  men  all 
housekeepers  in  the  town  of  (Tottenham,  in  Queene 
Elizabeth's  time,  of  our  name.' 

"To  show  what  the  ancient  magnificence  of  the 
'  Lordship  House '  must  have  been  formerly,  it  may 
be  mentioned  that  in  consequence  of  some  encum- 
brances appertaining  to  the  property,  it  was  found 
necessary,  some  few  years  back,  to  adopt  direct 
measures  towards  raising  a  certain  amount  with  the 
object  of  freeing  it  from  them.  Accordingly  a  largi 
portion  of  the  ancient  house  was  pulled  down,  when 
it  was  found  that  enough  oak  had  been  taken  from 
the  'Ball  Room'  to  pay  for  the  whole  estate.  I  1 
interior  of  the  portion  which  still  exists  has  been 
sadly  modernised  and  altered,  one  room,  which  is 
panelled  from  ceiling  to  floor,  being  divided  into 
three  or  four  compartments,  with  a  wooden  staircase 
on  one  side.  In  a  room  in  the  front  of  the  hou 
a  wide  fireplace,  now,  however,  blocked  up  ;  over  this 
is  a  very  ancient  piece  of  carving,  the  device  of  which 
represents  nude  figuri  s  resembling  imbecile  cupids, 
each  one  balancing  itself  upon  one  leg  and  supporting 
the  other  in  its  hand.  Passing  through  this  room. 
we  come  upon  a  fine  old  staircase,  the  balustrade  ol 
which  is  of  black  oak.  Ascending  this,  we  reach 
various  stages  of  uneven  landings,  on  one  of  which  is 
a  marble  mantelpiece  covered  with  numerous  petri- 
factions of  geological  moths  and  insects.  It  is  a 
beautiful  specimen,  and  worthy  of  a  close  inspection. 
A  date  is  said  to  be  carved  on  one  of  the  ponderous 
red-brick  chimneys,  and  is  possibly  the  year  when  the 
building  of  the  house  was  completed.  If  the  reader 
is  particularly  anxious  to  know  what  it  is,  he  had 
better  find  out  for  himself,  as  it  can  only  be  seen  by 
ascending  to  the  roof  by  the  aid  of  a  ladder — a  pro- 
ceeding which  even  an  ardent  antiquarian  mighl 
possibly  contemplate  with  some  di  gn     ol   disfavour." 

Dunster    Castle   stands  on  a  steep  hill,   where 
originally  there  was  a  much  older  erection.    Alt 

[uest  it  fell  into  the  hands  1  >f 

Dunster  Castle  ^    mm&m    Molllln.  who    pulled 

down  the  then  existing  building,  and  laid  the  foui 
tions  of  thi    pn    eni   ■  tstle,   which  continued  in  the 
possession  of  his  descendants  until   Lady  Elizabi    i 

Luttrell,  nee  Courtenay,  purchased  ii  f 1  them.    This 

lady's  son.  Sir  Hugh  Luttrell,  won  a  lawsuit  aj 
Edward  Plantagenet,  Duke  of  York,  in  thi  eighth  year 
01    Henry    IV.,   by  which   he  obtained    "the   honour 
and  the  castli   of  Dunster."     Sir  Hugh  distingui 
himself  as  a  soldier  in  the  French  wars,  whilst  his 
grandson,  Sir  James,  was  knighted  at  thi    batl 
Wakefield,   and    slain    at    the    battle    <>i    St.   A 
There  is  some  tradition  that  this  doughty  supp 


of  the  failing  House  of  Lancasti  r  was  tried  for  and 
found  guilty  of  high  treason  (against  the  Yorkist 
monarehyi  after  his  death,  and  in  consequence  the 
family  estates  were  confiscated  until  the  accession  of 
the  Tudors,  when  Sir  Hugh  Luttrell,  son  of  the 
gi  'ing,  came  into  his  own.  The  early  part  of  the  Luttrell 
pedigree  forms  a  forcible  illustration  of  Thomas  Hard)  's 
parson  in  the  first  chapter  of  Tess  of  the  d'Urbervilles, 
where  he  says  to  old  1  >urbeyfield.  "Aye,  there  have 
been  generations  of  Sir  Johns  among  you,  and  if 
knighthood  were  hen  like   a   baronetcy.    . 

practically  was  in  old  times,  when  men  were  knighted 
from  father  to  son,  you  would  be  Sir  John  now.'' 

The  last  of  the  Luttrells  in  the  male  line  to  live 
at  the  castle  was  Alexander,  whose  only  daughter, 
Margaret,  married  Henry  Fownes  in  1747.  when  tin- 
old  surname  was  re-adopted  ;  and  it  is  from  this  o 
that  the  present  Mr.  Alexander  Fownes  -  Luttrell 
descends.  Although  somewhat  extraneous  to  the 
present  subject,  it  may  be  observed  that  the  manor 
of  East  Quantoxhead,  after  being  in  the  possession  of 
the  Paganets  from  the  Conquest  until  the  heiress 
of  the  line  married  Sir  Andrew  Luttrell  in  the  reign 
of  Henry  III.,  has  remained  in  the  same  possession 
to  the  present  day.  with  the  exception  of  the  period 
indicated  above.  It  may  interest  some  of  my  readi  rs 
to  know  that  Edward  Seymour,  Lord  Beauchamp 
(1537-1621  1,  great-great-grandson  on  the  distaff  side 
of  King  Henry  VII.,  married,  circa  1585,  Honora, 
second  daughter  of  Sir  Richard  Rogers,  of  Bryan- 
stone,  co.  Dorset,  Kt.,  by  his  wife  Margaret,  daughter 
of  Sir  Andrew  Luttrell,  son  of  thai  ;  II  h  to  whom 
the  estates  wee   1  From  thi  marriage  1  il   I 

1  lui  hamp  sprang  numerous  families  and  branches 
of  families,  such  as  the  Ward-,  the  children  of  John 
Harvej  ["hursby,  of  Abington,  Sir  Richard  Burton, 
of  Sacketi  Hill  House.  St.  Peter's,  Isle  of  Thanet, 
and  Ins  numerous  descendants,  including  the  Osborn, 
Withall,  Brown,  and  Caddy  branches. 

To  return  to   Dunster  Castle,  thi  me  frag- 

ments of  Norman  work  still  extant  ;  but  a  large  pan  of 
the  buildings  date  from  the  Tudor  period.  The  old 
keep  was  destroyed  in  11150.  after  the  castle  had  been 
surrendered  to  Colonel  Blake,  whom  we  know  better 
famous  admiral.  It  was  the  second  tune  that  the 
Parliamentarians  had  besieged  Dunster,  for  on  the 
fust  occasion  they  had  been  driven  off  by  Royalist  re- 
inforcen  severe  struggli      ["he  Roundheads 

had  made  prisoner  the  mother  of  the  1 

and,    «iili  a  ferocity  which  recalls  rei  evi  nts  in 

Belgium,  threatened  to  place  her  s.  1  a-  "  the 

first  fury  "  of  the  defender's  cannon.     Happily  the  tell 
n  «as  frustrated  by  the  arrival  of  the  friendly 
to      l  m  mam   Burton, 


Mi 


THE   RED   CROSS   SALE  AT   CHRISTIE'S 


(  Concluded) 


THE  varied  assortment  of  objets  d'art  contained  many 

pieces  of  interest.     On  the  first  day,  Mr.  G.  O.  Smith's 

_,  ,         ,,  .  ivory  Flemish  vase,  of  the  school  of 

Objets  d'Art,  _.       .  ,  . ' 

.  —  r  lamingo,  carved  m  alto-relievo  with 

Lace,  Tapestry,  °   ' 

a  frieze  of  amorim  and  a  goat,  iof  in. 
etc.  °       '       2 

high,   was  sold  for   40   gns.,   and   of 

two  ivory  Portuguese  sixteenth-century  statuettes  of  the 
Virgin,  presented  by  the  Duke  of  Norfolk,  the  first, 
17  in.  high,  which  was  exhibited  at  St.  George's  Exhi- 
bition in  1886,  fetched  25  gns.,  whilst  the  second,  18  in. 
high,  brought  52  gns.  The  feature  of  the  second  day 
was  the  sale  of  Queen  Mary's  tortoiseshell  fan,  set  with 
Her  Majesty's  monogram  in  diamonds,  surmounted  by 
a  gold  crown,  the  mount  composed  of  feathers  from  an 
eagle's  wing,  which  was  first  knocked  down  for  190  gns. 
to  Mrs.  Bowring  Hanbury,  but  owing  to  her  generous 
wish,  was  again  put  up  to  auction,  this  time  being  secured 
by  Mr.  J.  B.  Crichton  for  140  gns.  The  lace  section 
did  not  come  quite  up  to  expectations  as  regards  the 
prices  paid.  A  fine  old  Limerick  lace  dress  of  about  six 
yards  round,  presented  by  Mr.  A.  Blackborne,  brought 
26  gns.,  and  Miss  Grace  M.  Sykes's  fine  Honiton 
applique  flounce,  7f  yards  long,  20  in.  deep,  20  gns. 
Amongst  the  embroideries  and  fabrics,  Mrs.  William 
Salting's  Turkish  prayer  rug,  of  crimson  velvet,  embroi- 
dered with  birds  and  arabesques  in  gold  thread  and  green 
silk,  52  in.  by  34  in.,  realised  ,£15;  Mr.  H.  Howard's 
panel  of  seventeenth-century  Flemish  tapestry,  with 
animals  in  a  woody  landscape,  go  in.  high  by  60  in.  wide, 
45  gns.;  and  an  anonymous  gift  of  two  upright  panels  of 
Spanish  tapestry,  with  figures  of  nymphs  in  landscapes, 
and  a  floral  border,  10  ft.  4  in.  by  4  ft.  9  in.,  40  gns.  On 
the  third  day  of  the  sale,  Mrs.  J.  Bowman's  oblong  silver 
snuff-box,  the  lid  chased  with  a  battle  scene,  and  the 
sides  with  the  rose,  thistle,  and  shamrock,  came  up. 
This  piece  was  presented  to  Sergeant  Ewart,  of  the  Scots 
Greys,  for  the  capture  of  a  standard  at  Waterloo.  Two 
contemporary  newspapers  referring  to  the  event  went  with 
the  lot.   the   highest  bid  being  32  gns.     The  important 


sum  of  200  gns.  was  paid  for  Mrs.  Zachary  Merton's 
Louis  XV.  tortoiseshell  inkstand,  picque  with  scrolls 
and  trellis  -  work  in  gold;  whilst  Mr.  Pandeli  Ralli's 
Louis  XVI.  circular  gold  snuff-box,  bearing  the  mark 
of  Henri  Clavel,  1780,  the  lid  set  with  an  enamel  plaque 
of  Justice  and  Cupid,  went  for  40  gns.  On  the  fourth 
day,  a  small  bowl,  of  emerald  green  jade,  mounted  with 
silver  borders,  handles,  and  foot,  set  with  small  diamonds, 
which  had  been  presented  by  H.R.  H.  the  Princess  Louise, 
was  knocked  down  for  37  gns.  ;  and  a  Russian  white 
jade  bowl,  carved  with  spiral  fluting  and  with  escalloped 
outline,  4  in.  high,  4  in.  diameter,  presented  by  H.R.  H. 
the  Princess  Victoria,  emulated  the  incident  attaching  to 
the  Queen's  fan,  being  first  knocked  down  to  Mr.  E.  M. 
Hodgkins  for  £50,  and  immediately  resold  to  Mr.  Spink 
for  ,£31  1  os.  Amongst  the  lacquer,  an  oblong  gold 
lacquer  box,  decorated  with  peony  leaves,  10J  in.  by 
Si  in.,  the  gift  of  the  Japanese  Ambassador,  brought 
,£27  6s.  ;  and  a  Japanese  gold  lacquer  writing-box,  the 
lid  decorated  with  seven  sages  in  a  bamboo  grove, 
their  faces  inlaid  in  silver  and  other  metals,  the  interior 
decorated  with  chrysanthemums  and  a  stream  on  nashiji 
ground,  9^  in.  by  SJ  in.,  presented  by  Lord  Islington, 
fetched  ,£28  7s.  On  April  21st,  a  pair  of  Japanese  ivory 
tusks,  carved  with  the  seven  gods  of  contentment,  sold 
for  1 1  5  gns. 

In  order  to  examine  the  prices  realised  by  the  arms 
and  armour  section,  we  have  to  turn  back  our  catalogue 

to  the  first  day  of  the  sale,  when  H.M. 
.  the  King's  gift  brought  350  gns.      It  was 

a  wheel-lock  sporting  rifle,  dated  1646, 
made  originally  for  Frederick  William,  Duke  of  Saxony, 
Juliers,  Cleves,  Brandenbourg,  etc.  A  silver  escutcheon 
on  the  side  of  the  butt  is  engraved  with  a  coat  of  arms, 
and  inscribed,  "  D  :  G  :  Fridericvs  Wilhelmvs  Dvx.  Sax. 
Ivli.  Cliv.  et  Montivm,  1648.''  The  barrel,  32J  in.  in 
length,  of  octagonal  section,  is  inscribed  at  the  breech, 
"Hans    Rvhr   •   Cobvrg,    1646,"   whilst  in  front  of  the 


170 


///    the    Sale    Room 


backsight  is  the  monogram  "  H.  R."  A  double-barrel 
wheel-lock  sporting  gun,  inscribed  "  Boutet  a  Ver- 
sailles," which  had  been  presented  by  Sir  Charles  Wei  by. 
was  knocked  down  for  20  gns.  ;  an  interesting  early 
twelfth-century  sword,  with  remains  of  silver  inlay,  which 
was  found  in  the  Thames  about  thirty  years  ago,  and 
presented  by  Mrs.  Sayer  Milward,  38  gns.  :  a  mid-six- 
teenth-century escarcelle,  opening  in  nine  compartmi 
from  the  Zschille  collection,  presented  by  Major  Sir 
Edward  Barry,  25  gns.  ;  and  the  Duchess  of  Wellington's 
historical  scimitar,  with  jade  grip,  inscribed  on  the  chape 
of  the  scabbard,  "  This  vword  was  found  in  the  Palace 
of  Tipoo  Sultan  at  Seringapatam,  and  was  tent  by  the 
Marquess   Welseley  to  his  brother,  Mr.    :  pre- 

sents it  as  a  testimony  oj   his   high   r,: 
Matthews,  Esq.,  under  whose  command  lie  had  the  hour. 
and  happiness  to  ret  veat  the  Battle  of  Kilcomneyin  in  the 

our  Lord,  1798,"  44  ,411-;.  On  April  21st,  M 
Victor  Farquharson's  closed  helmet,  third  quarter  of  the 
sixteenth  century,  realised-  45  gns.  :  and  Mrs.  I.  Bal- 
four Cockburn's  flint-lock  Highland  pistol,  by  Thomas 
Caddel,  said  to  have  belonged  to  the  Young  Pretender, 
35  gns. 

The   sculpture   did    not    realise   any    exciting   sums. 

Hamo    Thorny.  14I    in.    high,     entitled 

Truth   killing  •■.   was   kno 

Sculpture  down  for  22  gns  .  sir  A,ex    Hen(ierson's 

gift  of  a  bronze  figure  of  a  Piping  Faun,  1  5  in.  high, 
by  Onslow  Whiting,  1903.  51  gns.  ;  Mr.  Edmund  Davis's 
bronze  group  of  Two  Bears  Struggling,  12  in.  high,  by 
the  late  J.  M.  Swan.  -  a  sixteenth-century  Italian 

bronze  knocker,  9 in. high. modelled  withHercules  and  two 
lions,  presented  by  Messrs.  K.  C.  &  I..  C.  Davis,  42 
and  Sir  George  Donaldson's  Louis  XIV.  bronze  bust  of 
a  faun,  life-size.  46  gns.     Amongst  the  second  part  of  the 
sculpture  section,  which  was  not  a  big  one.   Mr.   II     B 
Burney's  eighteenth-century  French  mat   ill  27111. 

high,  sculptured  with  nymphs  and  fauns  in  relief,  realised 
41   gns.;  and  a  life-size   ti  Otta   bust  of  J.  M    \ 

Whistler,  by  Sir  J.  Edgar  Boehm,  1875.  the  gift  of 
H.R.H.  Princess  Louise.   75  gns. 

On  the  ninth  day.  April  22ml,  the    ah   re inn 

with  the  numismatical  section,  when  Miss  Lowe's  Jami  I 
thirty-shilling  gold  piece,  m.m.  a 
thistle  head,  a  rare  coin,  but  slightly 
cracked,  realised  ,{ M;  an  anonymous 
gift  of  a  Queen  Anne  five-guinea  gold  piece,  1709,  ol 
the  usual  type,  but  with  large  letters.  ,/'n  :  and 
Cameron's  carthage  silvei  tetradrachm  oi  Siculo  I'uiik 
fabric,    circa   410  311     b.i  An    anonymous 

donor  had  presented  .1  Bank  of  England  "  Bank  Posl 
Bill  "  for  ten  pounds     1  Iron 

but  ni  d,  and  tins  fetched  20  gns.     A  note 

in   the  catalogui  this  bill,   which  was 

1847:  "When  sent  to  America  foi  exhibition  at  the 
I  hicago  World  Fail         ■■  1      0  t,  and  nothing  was  heard 

!  11  more  than  twi  rs.      I  In  ownei  meanv 

notified  the  Hank  of  England  of  it^  loss,  and  requi 


Coins,  Medals 
etc. 


Relics 


them  to  refuse  payment  of  the  bill  should  it  ever  be 
presented.  In  1914  the  Bank  of  England  notified  the 
owner  that  they  had  tidings  of  the  bill,  which  was  in  the 
hands  of  an  American,  who  appears  to  have  been  a 
genuine  holder  for  value,  and,  after  negotiation,  the 
original    owner   again    obtained  on  of  the  bill. 

The  bill  can  now  be  presented  at  the  Bank  of  England, 
and  would  be  paid  at   it-  fai  ■  {'10};   but.  no  ■ 

to  say,  as  a  curiosity,  it  has  a  value  beyond  this.1      And 
so  it  proved.    Amongst  the  medals  and  decorations.  Miss 
W.    M.   Maxwell's  silver  war  medal.    "Army  of  India," 
1799-1826,   with   two  clasps  of  Aim   and    Maheid] 
presented  to  Capt.  G.  Maxwell,  Eur.  Regt.,  was  km 
down    at    £-\:  and    Mrs.    Lawson   White's    small 
"Eagle     badge,  commemorating  the  battle  ol   Barrosa 
in    1811,    when   the    British    87th    Regiment      now   the 
Royal  Irish  Fusilier-  capturedanea  rench, 

fetched  32  gns. 

(  in    April    22nd.    the    ninth   day   oi    sale,    .1 
historical  and  theatrical  relics  came  under  the  hammer. 

A  -lass  beaker,  engraved  with  a  portrait. 

military  trophy,  and  monogram  "  I..  B.," 
which  was  taken  from  the  carriage  of  Joseph  Buonaparte, 
King  of  Spain,  after  the  battle  of  Vittoria.  lonor, 

Miss  Lockhart  .  brought  25  gns.;  and  Mr.  Josiah  New- 
man's cricket-bat,  personally  selected  by  Tom  Hay  ward, 
and  bearing  the  autographs  of  sixty 

70  gns.  The  most  important  lot  in  tin  day's  sale,  how- 
ever,  was    the    Lord    Newlands   violin,    bearing  a    label 

bed  "  Antonius  Stradiuarius  Crei 
Anno  1702,"  which  had  been  purchased  by  the  donor's 
father  from  the  late  Mr.  Laurie,  who  had  . 
from  the  late  Mr.  William  Croall,  of  Edinburgh.  When 
put  up  to  auction,  the  violin  was  secured  by  Lady 
Wi  1  idler's  agent  for  £2,500,  but  on  her  wish  was  again 
exposed  for  sale,  this  time  falling  to  Mr.  Brandt  for 
£  1  -  4°°- 

ill     the    furniture    which    was    put    up    to    auction    on 

April   12th.    Mr.   J.    W.    Burton's    Boulle  bracket-clock, 

by  Cohendoz,  .1    Paris.   70  in.  high,  was 

knocked  down   foi    46  gns.  ;   Mr.    J.    G. 

I  XVI.    small   pa  1  with 

three   drawei   .    the    to] fitted  with  a  writing  slide, 

inlaid  with  panels  of  rosettes  and  trellis-work,  anil 
mounted   in   ormolu,    15   in.  wide.    130  gns.      Two   other 

lsisted   of  a   Dutch   nr.ir- 

queterie   table,   with   two   drawers,  inlaid   with   flowers, 

I  \ ind  lb      1 

carved  with  shells. an.  n.wide,  wh 

;   and  a  Mem;  entury  walnut 

press.  78  in.  high,  31  in.  wide,  carved  with  flowers, 
52  gns.     Mrs.  Pickei 

;6   in.    wide,    with    three   drawers.      with   tulip- 

rmolu,    and 
surmounted  1>>  .1  red  marble  slab,  feti  Ind  | ;  gns.     This 

had    formi  4ed  to  the  late  II.   U 

gill,  R.A.     The   I  )u.  In  ,,  ..t  Wellington 

int.  h  <>.ik  .11  mi  hair,  with  turned  leg  ti  hers. 


Furniture 


'7' 


The    Connoisseur 


the  seat  and  back  worked  in  needlework  to  represent  the 
"Fall  of  Phaeton,"  which  was  sold  for  180  gns.     This 

amount  was  also  the  highest  bid  made  for  the  Hon.  John 
Ward's  ten-leaf  Leath  screen,  Spanish,  second  quarter  of 
the  eighteenth  century,  7  ft.  6  in.  high,  painted  with  various 
subjects.  On  April  21st,  .m  old  English  chiming  bracket- 
clock,  by  James  Newton,  Red  Lyon  Street,  London, 
fitted  with  musical  movement,  with  brass  dial,  in  pedestal- 
shaped  ebonised  1  ase  elaborately  mounted  in  silver, 
fetched  [80  gns.  This  charming  piece  had  been  pre- 
sented by  Mis,  F.  Manship-Ewart.  An  anonymous  gift  of 
an  inlaid  Nonsuch  chest,  English,  late  sixteenth  century, 
realised  36  gns. 


Autographs, 
Original  MSS. 


ON  April  26th,  the  eleventh  day  of  sale,  the  day's 
proceedings  were  commenced,  in  point  of  interest,  by 
Mr.  W.  Austen  Leigh's  gift  of  Jane 
Austen's  original  autograph  MS., 
consisting  of  twelve  pages,  for  an  un- 
finished novel,  The  Watsons,  circa  1803-4,  which  realised 
£6--,.  A  little  later  Mr.  Clement  K.  Shorter's  relic  of 
Charlotte  Bronte  in  the  form  of  her  first  French  exercise 
book  at  the  Pensionnat  Heger,  Brussels,  new  half  calf, 
4to,  which  had  been  given  to  the  donor  by  Mile.  Heger 
in  1895,  fetched  jO  gns.  The  excitement  of  the  day 
came  with  Mrs.  Frank  Gielgud's  five  pages  of  the 
original  autograph  MS.  of  part  of  chapter  19  of  the 
Pickwick  Papers,  by  Charles  Dickens.  The  outside 
wrapper  is  endorsed  in  the  handwriting  of  the  author's 
father.  The  highest  bid  for  this  historic  document  was 
,£450,  made  by  Lady  Wernher,  who,  we  understand, 
intends  to  present  it  to  the  nation.  Later  in  the  day 
Mr.  Rudyard  Kipling's  gift  of  a  one-page  draft,  in 
his  own  handwriting,  of  his  poem,  "For  all  we  have 
and  are,"  brought  .£36;  and  the  unpublished  play.  The 
Egoist,  by  George  Meredith  and  Alfred  Sutro,  the 
donor,  with  many  autograph  corrections  and  42  original 
pages  by  Meredith,  green  calf,  top  edges  gilt,  4to,  /"ioo. 
Miss  Girdlestone  had  presented  Nelson's  original  auto- 
graph log-book,  4to,  whilst  in  the  Mediterranean,  from 
October  24th,  1803,  to  August  31st,  1804,  and  this  was 
knocked  down  for  £~%>.  A  catalogue  note  states  that 
"  this  interesting  relic  formerly  belonged  to  Lady  Bolton. 
a  niece  of  Lord  Nelson.  At  her  death,  in  1864,  it  passed 
to  Mrs.  Girdlestone,  the  mother  of  the  donor."  The 
following  lot  was  also  a  Nelson  relic,  an  autograph  letter 
addressed  to  Sir  Hercules  Ross,  dated  from  Port  Royal, 
Sept.  1st,  1780: — "I  have  just  received  the  Admiral's 
reply  to  my  request  to  be  sent  home,"  writes  Nelson  ; 
"it  is  granted  ;  the  Report  of  the  Surgeons  was  sufficient. 
.  .  .  I  shall  recover,  and  my  dream  of  glory  be 
fulfilled;  Nelson  will  yet  be  an  Admiral."  The  highest 
bid  for  the  letter  was  ^52.  There  were  several  Steven- 
son relics  put  up,  but  perhaps  what  was  the  most 
interesting  was  a  one-page  letter,  dated  from  Yailima, 
May  27th,  1892,  to  Mrs.  Billson  (Mr.  and  Mrs.  C.  J. 
Hillson  were  the  donors  of  this  lot),  in  which  R.  L.  S. 
says  of  her  husband,  "  He  thinks  my  loss  of  health 
produced  my  taste  for  adventure,  which  it  but  impeded, 
4  parts   adventurer  +  3  parts  artist  +  2   parts   sensual  1,1 


Books 


+  1  part  Scotch  clergyman."  Following  this  interesting 
letter,  which  reached  40 gns.,  came  Mr.  Herbert  Sulli\  an's 
presentation  of  Sir  Arthur  Sullivan's  original  MS.  of  the 
full  score  of  i'topia,  about  318  pages,  bound  in  half 
mor  ,  oblong  folio,  which  was  sold  for  50  gns.,  subject  to 
the  condition  that  the  purchaser,  who  buys  no  copyright, 
returned  it  to  the  donor  for  the  purpose  of  having  a  copy 
made. 

The  collection  of  books  came  under  the  hammer  on 
the  last  day  of  the  sale,  which  occurred  on  April  27th. 
Amongst  the  first  items  offered,  Mr. 
Reginald  J.  Smith's  Poems  by  Currer, 
Ellis,  and  Acton  Bell,  first  issue  of  the  first  edition, 
orig.  cloth,  uncut,  in  fine  condition,  with  the  errata  slip 
at  the  end,  iv.  +  1 6 5  pp.,  Aylott  and  Jones,  8.  Paternoster 
Row,  1846,  realised  ^70.  This  was  Charlotte  Bronte's 
own  copy,  and  is  autographed  "C.  Bronte,  Manchester, 
Sept.  2 1  st,  1846."  The  late  Mrs.  Nicholls,  the  second 
wife  of  Charlotte  Bronte's  husband,  presented  the  book 
to  the  donor.  Presented  by  Captain  the  Hon.  Henry 
Denison,  a  specimen  of  Mrs.  Kello's  caligraphy,  Argu- 
menta  in  Librorum  Psalmorum,  Esikerce  Inglis  manu 
exarata,  from  the  Londesborough  collection,  was  knocked 
down  for  ,£40.  An  anonymous  gift,  by  a  lady,  of  Rud- 
yard Kipling's  Echoes,  by  Two  Writers,  in  the  original 
paper  covers,  with  an  original  unpublished  poem  of 
28  lines,  "To  the  Ladies  of  Warwick  Gardens,  by  Rudy 
and  Trix,"  in  R.K.'s  autograph,  and  the  name  "Trix" 
written  against  that  author's  poems  in  the  index,  Lahore, 
n.d.,  fetched  ,£90;  whilst  Mr.  A.  C.  Bradley's  first  edition 
of  Meredith's  Poems,  with  the  errata  slip  at  end,  orig. 
cloth,  uncut,  fine  copy,  J.  W.  Parker  &  Son,  1851, 
brought  £iy  What  is  supposed  to  be  the  smallest  illu- 
minated MS.  extant  was  presented  by  Miss  M.  J.  Lindsay, 
and  fetched  the  comparatively  low  amount  of  31  gns.  It 
was  entitled  Pieces  Latini,  a  tiny  little  volume,  neatly 
written  in  Roman  characters,  on  139  pages  of  thin 
vellum,  with  miniatures  and  initials  by  S.  Gagliardelli, 
bound  in  black  mor.,  gold  tooled,  gilt  edges,  signed 
and  dated  at  Fiorenza,  1 590.  A  set  of  proof-sheets  of 
Underwood's  (donor,  Miss  Boodle)  inscribed  in  Steven- 
son's autograph,  "Adelaide  Boodle,  these  sheets  with 
the  kindest  remembrances  from  Robert  Louis  Stevenson," 
dated  1887  on  half-title,  unbound,  brought  29  gns.  ; 
an  anonymous  gift  of  R.L.S.'s  Either  Damien,  original 
issue,  of  32  pages,  with  inscription,  "Offered  to  Father 
Russell  by  C.  Baxter,  28  April,  1890,"  half  mor.,  gilt 
edges,  Sydney,  1890,  the  copy  sent  by  the  author  to  his 
friend  Mr.  Baxter,  when  he  instructed  him  to  defend 
him  in  a  libel  action,  24  gns.  ;  and  the  same  author's 
A  Child's  Garden  of  Verses,  first  edition,  with  two  of  his 
autograph  inscriptions,  orig.  cloth,  top  edges  gilt,  uncut, 
1885,  ,£88. 

Amongst  the  quarto  volumes,  Mr.  Hugh  Cobb's  Le 
Psaultier  de  David,  avec  les  cantiques,  beautifully  bound, 
with  gold  edges  by  Clovis  Eve,  and  bearing  the  arms  of 
Marie  de  Medici,  1586,  was  knocked  down  for  30  gns. 
Mr.  11.  J.  Elwes's  gift  of  The  Trees  of  Great  Britain 
and  Ireland,  by  H.  J.   and   Henry  A.   Elwes,  with  over 


172 


Ill    the    Sale    Room 


American 
Art  Sales 


400  fine  plates,  15  parts  in  7  portfolios,  privately  printed 
at  Edinburgh,  1906-13,  fetched  3:  gns.  ;  whilst  the 
Misses  Bailey's  presentation  of  Gray's  Elegy  in  a 
Country  Churchyard,  a  large  paper  copy  of  Van  Voorst's 
edition,  edited  by  John  Martin,  whose  own  copy  it  is, 
containing  19  of  the  original  drawings  by  Constable  and 
others  for  the  book,  etc.,  mor.  extra,  gilt  edges, 
realised  £70. 

Till  prices  realised  at  the  sale  of  pictures  at  the 
American  Art  Galleries,  when  various  properties  were 
put  to  auction,  showed  a  slightly 
satisfactory  advance.  On  this  occasion 
the  majority  of  the  works  were  either  b) 
modern  artists  or  else  those  who  have  not  been  dead 
sufficiently  long  to  render  them  antique.  k.  Landscape, 
by  X.  V.  Diaz,  realised  Si  55  ;  Bierstadt's  Sunset  in  the 
Mountains,  8270;  F.  Ziem's  Grand  Canal,  Venice,  S3 10: 
J.  Crome's  Old  Bathing  House,  Norwich,  $150;  Verest- 
chagin's  Russian  Blacksmith,  Si  55  ;  T.  Rousseau's  Land- 
scape, S280 ;  W.  Hart's  Cows  Drinking,  S440 ;  and 
Corot's  Hay  Cart,  $600.  Other  prices  realised  were: 
of  the  Woods,  by  B.  Crane,  S300 ;  A  Glorious 
Sunset,  by  G.  H.  Bogert,  $545  ;  Portrait  of  Mat  ie  Anne 
Darras,  by  Nattier,  S150;  Portrait  of  a  Man,  bj  de 
Tro  .  $360;  Wi  >  Waves  and  Moonlight  meet,  by 
Rehn,  S440  ;  The  Granddaughter,  by  Millet,  S300  ;  The 
Feudal  Tower,  by  T.  Moran,  $640;  A  Wheatfield,  by 
W.  M.  Chase,  S3 10  ;  and  The  Shepherd's  Lunch,  by 
G.  S.  Truesdall,  S330. 

THE  Blakeslee  collection  of  paintings  was  dispersed  in 
the  Plaza  ballroom  on  April  21st  and  following  days, 
when  the  following  high  prices  were 
realised  -.—Portrait  of  aLady,byA\\ori, 
Si, 400  ;  Madonna  and  Child  with  St. 
John,  by  Domenico  Puligo,  S3. 050;  St.  Mary  Magdalene, 
by  Spagna,  Si, 000  ;  Susannah  and  the  Elders,  by  Titian, 
$1,000;  The  Little  Shepherd,  by  Murillo,  $1,025; 
Mariana,  Queen  of  Spain,  by  Velasquez,  Si,  15 
Charles  I  1 1.  of  Spain,  Si, 100;  The  feweller's  Daughter, 
by  Lucas  Cranach,  $1,175  '•  Portrait  of  a  Man.  holding 
a  pen  in  his  hand,  by  de  Backer,  $1,025;  Landscape,  \iy 
|uhn  van  Kessel,  $1,625;  Portrait  of  Marguerite  ran 
Bromkart,  by  van  Mierevelt,  $1,625;  Amorini,  by 
Francois  Boucher,  Si. 725.  Three  lots  following  close 
on  one  another  feti  hed  $1,000  each.  They  wen-  a  Pot  ■ 
trait  of  Madame  de  la  Marteliere,  by  Jean  Loui     I   1 


The  BUkeslee 
Sale 


Portrait  of  Madame  Vestris,by  Madame  Vigee  le  Brim  : 
and  a   Portrait  of  the   Due  de  Penthievre,   by    N 
Largilliere.       Following    the    last  -  mentioned    came    F. 
Guerin's  Fillette  jouant  avec  un  Garcon  Endormi,  whii  h 
war,    knocked     down     for     81,125.       Shortly    a 
another  specimen  by  Largilliere,  Portrait  of  a  La 
the  Courtof  Louis  XIV.,  brought  87,500.      Other  pi 
were  a  Virgin  and  Child,  by  Van  ( >rley,  Si.  100  ;  A  Lady 
of  the  Coningsby  Family,  attributed   to   Van    Dyck.  but 
possibly  by   Sustermans,  $5,100;    /  'Hon  of  the 

Magi,  by  Rubens,  813,000;   The  Wedding  of  Psyche,  by 
Sir   E.    Burne-Jones,   82,100;    The  Mackenzie   Children. 
by  Sir  John  Watson  Gordon,  81,025  ;  and  a  Porti 
the  Earl  of  Portland,  by  Dobson,  $825. 

The  highest  sums  realised  during  the  last  part  of  the 
sale  were  as  follows:-  -Portrait  of  Lady  Campbell,  by 
Hoppner,    84,200;    Hampstead   Heath,    by    Consl 

1  1  :    Portrait    of  Miss   Theophilus    Palmer,   by    Sir 
|.    Reynolds,     86, 100:     Portrait    of   Mrs.    Mustet 
"■Hebe,"  by  the  same.    $3,600;  Portrait  of  Miss  Kitty 
Fischer,  by  the  same,  82,500:  Portrait  oj  Mrs.  Drake. 
by  Romney,  S3, goo;  Portrait  of  the  Com     >.  of  Guild- 

by  Hoppner,  $9,300;  Portrait  of  Lord  Crai 
Sir     H.     Raeburn,     S3. 400;     Portrait    of  Mrs.     Stuart 
Richardson,    by    the    same,    $8,100;    Portrait  of 
Melville,by   Sir  T.    Lawrence,    $5,100;   Portrait  0/  the 
Marquess  of  Hertford,  by  the  same.   $3,700;  and   Pot 
trait  of   Mrs.    Appleby,    by    Romney,    810.300.      Two 
famous    modern    subject    pictures   fetched    $9,200  each. 
They    were    Alma  -  Tadema's    Sculpture    Galletj 
Orchardson's    Young  Duke.      The  last   lot   but   one  in 
ale    was    Reynolds's    portrait   of  Annabella,   Lady 
Blake,  in  the  character  oj  ■■Juno,"  whii  ll  realised  $1 

Some  high  pn.es  were  iealise.1  at  the  American  Art 
Galleries  when  the  Ives  collection  was  dispersed.  A 
famille-verte  Khang-hsi  vase  fetched 
form  Mmg  jar, 
86,100:  a  tall  Khang-hsi  vase,  $6,000;  a  Khan; 
slender  vase,  83,000;  a  Khang  hsi  oviform  vase,  $3 
and  an  amphora  shaped  famille  none  vase,  $4,900 

When  the  extensive  library  1  ime  under  the  hammer, 
a  MS.  Book  of  Hours,  of  fifteenth-century  French  pro 
duction,  was  soldfoi  ^.1;::  afirsi  edition  of  Pauline,  by 
Browning,  in  the  original  board  .  $1,425;  a  first  edition 
in  three  volumes  of  Robinson  Crusoe,  by  Defoe,  Si, 000; 
and  an  early  first  issue  of  Dickens's  American  \ 
with  presentation  inscription  from  the  author.   $4 


The  Ives  Sale 


'75 


I'm. ike  most  current  exhibitions,  the  Royal  Academy 

hardly  tails  off  in  quality  towards  the  end.     There  may 

be  a  larger   proportion    of  examples 

The  Koyal  ^    members   and    associates    in    the 

Aca   emy      ^  ^   £    tlire£    Qr    fou].    r00mSj    but    tile 

Second  Notice  .  ,  .,      ,  , 

remainder   are   always    full   of   works 

of  merit.  Generally  one  of  the  largest  canvases  in  the 
exhibition  is  hung  on  the  north  wall  of  the  sixth  room, 
and  this  year  the  position  is  filled  by  Mr.  Seymour 
Lucas's  Flight  of  the  Five  Members,  1642,  painted  for 
presentation  to  the  House  of  Commons.  Historical 
painting  has  never  taken  the  same  root  in  England  as 
in  France,  and  the  traditions  of  the  art  in  this  country 
are  not  of  the  highest.  Mr.  Lucas  follows  the  methods 
of  Ward  and  Armitage,  whose  first  aim  was  to  tell  a 
story  clearly.  He  is,  however,  able  to  bring  to  his  work 
a  higher  standard  of  draughtsmanship,  a  better  quality 
of  paint,  and  enhanced  graphic  power  in  the  realisation 
mi  Ins  conception.  In  this  instance  the  grouping  .if  his 
principal  figures  is  achieved  with  pictorial  and  dramatic 
skill,  that  of  Strode — the  central  object  in  the  picture 
— dragged  unwillingly  to  the  boat  by  which  the  mem- 
bers are  escaping,  being  especially  spirited  as  well  as 
thoroughly  natural.  It  is  only  in  the  realisation  of  the 
minor  figures  in  the  background— the  supers,  as  it  were 
— that  the  artist  has  neglected  to  realise  to  the  full  the 
dramatic  force  of  the  scene.  One  fancies  that  the 
general  excitement  of  the  moment  would  be  intense, 
and  would  not  be  confined  to  the  escaping  members. 
Some,  at  least,  of  their  friends  would  escort  them  to 
the  river-side  ;  backward  glances  would  be  cast  to  see 
if  there  was  a  pursuit ;  swords  would  be  held  ready  for 
drawing  to  repel,  if  necessary,  any  attempted  arrest 
by  force.  Nothing  of  this  is  suggested  in  the  picture. 
A  crowd,  presumably  of  the  king's  followers,  is  lined 
up  about  the  entrance  of  the  palace  in  the  distance;  a 
few  groups  of  men  near  at  hand  are  engaged  in  serious 
talk  ;  but  no  eye  is  raised  to  see  if  any  pursuit  is  coming 
or  to  watch  the  members  in  their  flight.  For  all  the  notice 
the  bystanders  are  taking  of  them,  they  might  be  a  party 
on  a  pleasure  trip. 

Another  large  historical  work  is  Mr.  Frank  O.  Salis- 
bury's  Queen  Philippa  pleading  for  the  lives  if  the 
Burghers  of  Calais.  In  this  the  artist  has  utilised  to 
the  full  the  opportunity  for  introducing  rich  colour  and 


picturesque  garb,  and  has  attained  a  finely  decorative 
effect.  It  may  be  objected  that  the  rendering  of  the  scene- 
is  somewhat  theatrical,  but  one  suspects  that  the  actual 
event  was  something  in  the  nature  of  a  prearranged 
tableau  ordered  by  the  king,  with  the  double  idea  of 
striking  terror  into  the  hearts  of  the  burghers  of  Calais 
and  displaying  his  own  magnanimity.  Mr.  J.  Walter 
West  s  St.  George  of  England  might  come  within  the 
historical  category  by  virtue  of  its  title,  but  the  artist 
has  viewed  the  scene  with  the  eye  of  a  landscape 
painter,  and  the  picture  interests  more  by  reason  of  its 
fine  colour  and  atmospheric  setting  rather  than  by  the 
realisation  of  the  combat  of  the  knight  and  the  dragon. 
So,  too,  with  Mr.  Bernard  F.  Cribble's  Loyal  M 
the  Bounty.  The  ship,  floating  lazily  under  a  summer 
sky  on  a  placid  sea,  with  the  heavily  laden  boat  in 
the  foreground,  makes  a  pleasant  picture  with  little 
hint  of  tragedy.  Yet  Mr.  Cribble  has  well  character- 
ised the  different  figures  in  the  boat.  When  one 
remembers  the  story,  they  fit  aptly  into  their  proper 
places :  but  without  this  memory  one  would  be  well 
content  to  accept  the  picture  as  that  of  an  ordinary 
disembarkation. 

Classical  or  allegorical  subjects  do  not  enjoy  the  same 
vogue  as  formerly — a  matter  of  regret,  for  the  traditional 
treatment  of  such  work  imposes  a  higher  standard  of 
draughtsmanship  and  more  finished  execution  than 
that  demanded  by  most  other  subjects.  Sir  E.  J. 
Poynter's  Orpheus  101th  his  Lute  exemplified  his  usual 
scholarly  manner,  but  hardly  ranked  with  his  best 
work.  Mr.  Briton  Riviere  pictured  A  Night  Outpost  of 
Xenophoris  Greeks  preparing  to  receive  the  onslaught 
of  a  couple  of  lions,  who  apparently  were  more  afraid 
of  the  lighted  brands  held  by  the  soldiers  than  their 
weapons  or  gleaming  armour.  The  conception  of  the 
work  was  good,  and  it  was  carried  out  with  consider- 
able imaginative  power.  Mr.  Harry  Watson's  Allegory 
of  Immigration  was  pleasant  in  colour,  weli  drawn,  and 
well  grouped,  but  hardly  suggestive  of  a  party  of  old- 
world  wanderers  braving  the  perils  of  an  unknown 
land,  which  one  would  suppose  was  its  intention.  In 
another  allegory,  Nature  cast  out.  the  whole  treat- 
ment was  too  realistic.  The  undraped  figure  typifying 
nature  appeared  to  be  merely  a  woman  who  by  some 
mischance  was  wandering  clothesless  in  a  factory  yard. 


176 


Current   Art   Notes 


This  incongru- 
ity should  not 
blind  one  to 
the  really  good 
drawing  and 
careful  painting 
of  the  work. 

The  spirit  of 
industry,  though 
not  allegorised, 
was  represented 
in  the  persons  of 
its  followers  in 
several  works. 
Mr.  Lindsay 
G.  Macarthur's 
Dighting  Beans 
showed  a  group 
of  rustics 
perched  on  a 
stack,  in  a  well- 
filled  stackyard, 
with  a  thrashing 
engine  at  work. 
The  artist  was 
probably  less 
concerned  with 
the  picturing  of 
industry  than 
the  realisation 
of  sunlight  and 
atmosphere.  In 
this  he  had  at- 
tained marked 
success.  The 
piled  -  up  straw 
stacks  glowed 
in  the  warmth 
of  the  even- 
in-  light,  whi<  h 
suffused  the 
dust-laden 
atmosphere 
with  golden 
haze  :  while  the 
general  hot 
tone  of  the  work 
was  admirably 
foiled  and  kept 
in  place  by  the 
introduction  of 
sn  in  e  strong 
greens  in  the 
foreground.  In 
the  Steel  Workers  Mr.  Stanhope  Forbes  showed  a  less 
attractive  but  far  more  animated  scene,  lit  up 

by  the  glow  of  white-hot  metal,  which  busy  workers  were 
engaged   in  manipulating.     The  picture  orously 

painted,  ami  gave  a  finely  realistic  representation  of  the 
scene.     Among   landscapes  not  already  mentioned  may 


i  in',   via  \  Li    CLO  IK 


be  noted  M  r. 
Hall's 
Oak  Trees  on  the 
edge 

Collin: 

what  monoto- 
n o us  in  t o n e . 
but  well  com 



in     f  e  e 1 i  n g  ; 
Mr.  K.  Gv 
Goodman's  im- 
p  res  si  ve  b  ut 
heavily    painted 
/>',-«  Nevis;  Mr. 
Tom     Mostyn's 
b  r  i  1  1  i  a  n  t  1  y 
coloured   Gar- 
den of  T     • 
w  h  i  ch    w  a  s 
rather  <  onfused 
in    the   fo  r  e  - 
ground     and 
failed  to  be  con- 
V  inci  n  g  ;  and 
Mr.   H  ii  g  h  e  s 
Stanton's    Esk- 
dale,    t  'u  ■ 
land.    The  last 
named   artist   is 
■  1  with  little 
feeling  for  local 
colour,    and 
iv  h  e  t  h  e  r    h  e 
paints    in     Nor 
m  a  n  d  y  o  r  the 
Lake    District, 
he  sci-s  nature 
j  much  the 
same  aspects. 

and  i  lollies  hei 
with  much  the 

i  e      tints. 

Allow  i  n  | 
t  lie  fact  that 
the  landscape 
hardly  seemed 
ty  pica  1  of  the 
district  it  repie 
:d,  u  was  i 
noble  piece  .if 
work,  well  com- 

edately 

■ 

and  broad    i  The  Winter  Sunlight  h 

il  airs  ot    Mi.    Harry  W.    Adams 

;  the  Old  Apple  Tree  of  Mr.  :  n  was 

a  marvel  of  pre-Raphaeliti  on;  and  Mr.  Frank 

ier  an, I  blooms  the  whin 
i   sunny  and    pli 


BY    I  l»l>   or  I  HRIE 


'77 


The   Connoisseur 


compelled   interest   because  of  the  delicacy  and  truth  of 
the  work. 

Of  coast  scenes  Mr.  Julius  Olsson  contributed  several 
in  his  usual  vein,  the  best  of  which  was  The  Night 
Tide,  in  which  the  moonlight  shimmering  on  the  water 
was  effectively  contrasted  against  the  dark  rocks.  hi 
Dutch  Waters,  by  Mr.  Moffat  Lindner,  was  a  render- 
ing of  white-sailed  barges,  with  white  clouds  up  above 
and  their  various  reflections  in  the  water  patterned  out 
into  a  strikingly  decorative  composition.  Mr.  John  R. 
Reid's  Little  Navigator  reminded  one  of  the  late  J.  C. 
Hook  in  its  outlook,  though  marked  by  a  greater  zest 
for  strong  colour.  One  of  the  largest  pictures  in  the 
exhibition  was  A  July  Day,  by  Mr.  Gerald  Moira,  a 
bathing  scene  on  the  southern  coast.  Neither  the  sub- 
ject nor  the  treatment  of  the  work  seemed  worthy  of 
the  large  scale  on  which  it  was  presented.  Some  of  the 
figures  were  individually  good,  but  the  general  effect  was 
confused,  and  the  most  satisfying  part  of  the  picture 
was  the  background.  A  mellow  and  atmospheric  tran- 
script of  fish-boats  Home-coming  into  a  sunny  harbour 
was  by  Mr.  Robert  W.  Allan.  Mrs.  Laura  Knight  sent 
some  pictures  of  girls  bathing.  Of  these,  By  the  Sea, 
showing  a  girl  seated  on  a  rock  above  the  water,  with 
a  long  stretching,  shimmering  expanse  of  sea  beyond, 
was  the  most  pleasing.  The  figure  of  the  girl  did  not 
appear  to  be  in  correct  perspective,  as,  judging  by  the 
height  of  the  horizon,  the  spectator  must  have  been 
looking  almost  directly  down  upon  her  from  a  consider- 
able elevation.  This  was  hardly  suggested  ;  but  as  an 
accurate  bird's-eye  view  of  the  figure  would  have  been 
far  less  pleasing,  and  the  placid  surface  of  the  tender 
grey  water,  streaked  here  and  there  with  patches  of  silver 
sunlight,  formed  a  beautiful  background,  Mrs.  Knight 
may  be  forgiven  for  her  artistic  licence.  Another  figure 
painter,  Mr.  Henry  Woods,  R.A.,  was  seen  at  his  best 
in  a  well-composed  and  interesting  group  seen  in  front 
of  the  School  and  Church  of  St.  Rocco,  Venice,  the 
whole  scene  being  rendered  in  quiet  and  luminous 
colour.  Another  of  his  works,  A  Chat  at  the  Reva, 
Venice,  was  a  little  gem,  brilliant  in  tone,  and  at  once 
delicate  and  free  in  its  manipulation. 

Many  portraits  have  already  been  noted,  but  their 
number  is  so  great  that  a  second  instalment  of  criticism 
is  necessary  to  cover  omissions.  The  difficult  task  of 
painting  a  large  group  is  essayed  not  over  successfully 
by  Mr.  George  Harcourt  in  his  Arbroath  Whist  Club. 
One  would  imagine  that  the  great  handicap  to  such  a 
work  is  that  every  member  of  a  group  desires  that  due 
prominence  should  be  given  to  his  person.  Mr.  Harcourt 
has  apparently  gratified  this  desire,  with  the  result  that 
the  picture  is  less  a  good  portrait  group  than  a  group  of 
good  portraits.  In  this  respect  Mr.  John  Cook  is  more 
successful  in  his  smaller  work.  In  this  work  the  eight 
well-known  scientists  represented  are  focussed  bv  an 
object  of  common  interest,  and  appear  posed  naturally 
rather  than  fitted  into  their  places.  Mr.  George  Henry's 
Spring  Morning,  an  open-air  portrait  group  of  two  ladies, 
is  sincerely  painted,  with  a  good  sense  of  colour  and 
atmospheric  feeling,  only  marred  by  a  lack  of  crispness 


in  the  handling.  R.  A.  Oswald,  of  AticMncruive,  is  a 
good  example  of  Mr.  W.  Llewellyn's  smoothly  finished 
work  ;  a  better,  perhaps,  is  Sir  James  Mills,  K.C.M.G., 
in  which  the  well-groomed  appearance  of  the  subject 
appears  to  happily  coincide  with  the  painter's  polished 
style  of  art.  Another  artist  whose  work  is  executed  in  a 
similar  style  is  Mr.  Harold  Speed,  who  in  his  dignified 
posthumous  portrait  of  The  late  Rt.  Hon.  Percy  Ming- 
worth  takes  full  advantage  of  the  opportunity  which  the 
court  dress  of  his  subject  gives  him,  and  invests  his 
rendering  of  the  lace  and  satin,  as  well  as  of  the  sitter's 
physiognomy,  with  a  certain  elegant  completeness  which 
recalls  the  traditions  of  the  French  eighteenth-century 
masters  of  portraiture.  Mr.  Fiddes  Watt's  portrait  of 
The  late  Very  Rev.  Norman  Macleod,  D.D.,  was  not  less 
complete  in  its  way,  but  in  his  style,  which  is  more 
English,  or  rather  Scotch,  the  method  of  the  workman- 
ship is  more  clearly  in  evidence.  The  work  is  vigorous 
and  vital,  and  shows  an  increased  feeling  for  colour. 
Another  robust  painting  is  Mr.  G.  Hall  Neale's  presen- 
tation portrait  of  William  H.  Maw,  Esq.,  in  which  the 
smiling  face  of  the  sitter  in  no  way  detracts  from  his 
intellectual  attributes. 

Among  the  sculpture  the  piece  which  has  attracted 
most  attention  is  the  fine  Premier  Martin,  by  M.  Egide 
Rombeaux,  which  has  now  been  secured  by  private  sub- 
scription for  the  nation.  There  is  a  fine  largeness  of 
feeling  about  the  flowing  lines  of  this  figure,  which  is 
aided  by  the  broad  yet  adequate  handling  of  the  marble. 
Mr.  Hamo  Thornycroft's  group  of  Britannia  with  an 
Indian  child,  which  is  to  form  part  of  the  Sind  memorial 
to  King  Edward  VII.,  was  dignified  and  impressive. 
The  Bather,  by  Albert  Toft,  was  graceful  and  well 
modelled,  but  it  seemed  as  if  its  high  surface  finish  had 
deprived  it  of  some  of  its  vitality.  A  Recumbent  effigy  of 
the  late  Lady  Lever,  by  Sir  W.  Goscombe  John,  R.A., 
was  a  successful  example  of  monumental  art,  the  peace 
and  repose  of  death  being  happily  suggested.  In  the 
Memorial  Bronze  of  Sir  W.  S.  Gilbert  the  deep  relief 
of  the  portrait  bust  appeared  to  clash  with  the  smaller 
figures  at  each  side  of  the  base  of  the  monument,  and  the 
effect  would  probably  have  been  better  had  the  artist 
contented  himself  with  executing  a  simple  medallion  of 
the  dramatist. 

Among  other  works  which  may  be  noted  was  a  Lead 
figure  for  a  garden,  by  Miss  Ruby  W.  Bailey,  which 
was  both  picturesque  and  adequately  modelled  ;  a  group 
in  glazed  earthenware  of  Children  with  /'nil,  by  Harold 
and  Phoebe  Stabler,  distinguished  by  higher  artistic 
feeling  than  usually  characterises  figures  in  modern 
pottery.  In  both  these  materials  there  is  much  room  for 
good  work,  and  it  is  a  matter  for  regret  that  at  the 
present  time,  unlike  former  days,  so  few  sculptors  of 
repute  exercise  their  talents  in  designing  ornaments  for 
the  garden  or  the  house.  One  of  the  best  portrait  busts 
was  that  of  Major-Gen.  Sir  Coleridge  Grove,  K.C.B., 
lu  Mr.  F.  W.  Pomeroy,  R.A.,  which  was  vigorously 
modelled  and  full  of  character;  and  another,  though  some- 
what sketchil)  treated,  was  that  of  James  Tulloch,  Esq., 
bv  Mr.  Alfred  Drury,  R.A. 


178 


Current   Art   Notes 


The  Inter- 
national 
Society  of 
Sculptors, 
Painters,  and 
Gravers 

THE  national 
rather  than  the 
foreign  element 
again  consti- 
tuted the  most 
attractive  fea- 
ture in  the 
eighteenth  Lon- 
don exhibition 
of  the  Inter- 
national Society 
attheGrosvenor 
Gallery  <  5 1  a. 
New  Bond 
Street).  Despite 
the  war,  the  ex- 
hibition was  not 
much  below  its 
usual  standard, 
and  even  the 
numerous  ec- 
centricit  ies, 
w  h  i  c  h  were 
hardly  worthy 
of  inclusion  on 
their  intrinsic 
merits,  helped 
the  general  ef- 
fect of  the  exhi- 
bition by  afford- 
ing a  piquant 
note  of  contrast 
to  the  orthodox 
works.  The  war 
was  not  much  in 
evidence,  Mr. 
Walter    Bayes's 

August,  1014:  TheBritishFleet  will  guarantee  the  Security 
of  the  North-West  Coasts  of  France  was  pre-eminently 
peaceful  in  its  aspect,  a  secluded  spot  in  the  sand-dunes 
being  shown,  amidst  which  a  woman  and  a  child  were 
tranquilly  enjoying  themselves,  ami  'inly  a  torpedo  1  ' 
destroyer  in  the  iilvei  ;ea  beyond  hinted  at  the  proximity 
of  war.  The  real  thing  was  pictured  in  thi  erii 
powerful  lithographs  by  Mr.  G.  Spencei  Pryse,  the  more 
impressive  because  set  down  withoul  a  eration  or  ex- 
traneous sentiment.  One  saw  the' differed  1  bi  twei  n  what 
actually  happened  and  what  0  1  vo  d  have  ima  ned 
should  have  happened,  besl  1  xemplifii  d  in  the  lithoj  raph 
showing  the  Third  Cavalry  />■■  ision  in  Ghent,  1 
/jth,  nil /.  Here  one  would  havi  >upposedthi  entrance 
.it  the  British  horsemen  might  have  taken  the  form  ol 
a  -run  triumphant  proa  etwi  en  1  heei  ing  1 

I  he  realitv  was  different.     '  in  the  far  side  of  thi 


LITHOGRAPH    BY 


PORTRAIT   OF    1- 
ETHEL   i.  VB  UN 


one  sees  the  line 
of  British  troops 
r  i  d  i  n  g  i  n  <  i 
direction,   while 
in   the   fore- 
ground an  end- 
less  crowd   of 
fu  g  i  t  i  v  e  s 
hurrying  off  in 
the  other.     The 
two  streams  pass 
almost  withoul 
notici  n  g  i 
other,  for  war  is 
tun    urgent    a 
matter  for  senti- 
ment ;  it  may  be 
felt,  but  there  is 
no  time   for   its 
expression.        A 
contrast  to   Mr. 
Pryse's   ti 
realism  was  Mr. 
Algernon  Tal- 
mage's  Mary  by 
the  Western  Sea 
— realistic,   in- 
deed,  in   its 
expression  of 
nature   and    its 
realisat  ion  <>t 
t e  x t ur  e  s.    b  u  t 
wholly  idyllic 
in    its    feeling. 

Pleasant  real 

ism,  too,  was 
the  key  note  of 
Miss  E m  i  1  y 
i  is  Morn- 
ing-room Win- 
.in  which 
the  sih  erj  lones 
u  t  the  light- 
suffused  atmosphere  were  set  off  by  the  bright  ami  positive 
colouring  of  some  crisply  touched  in  flowers.  The  Dancer 
of  Mr.  i  '-'..  i  1  i  "an  would  have  been  b<  ttei  il  In-  had 
imparted  a  more  joyous  aco  i  to  h  work.  This  pi 
-irl.  tripping  lightly  in  a  picturesque  eighteenth-century 
me,  should  havi  been  happy,  but  Mi  Coates  had 
en  hi  pn    lion  of  seriousness  which  almost  sug- 

,     ed  traged         1:  affei  ted  om   a    .n\  unpleasant  i 
gruity,  like  ill'-  introduction  of  a  s.nl  ending  to  blithesome 
comedy.     Mr.  Louis  Sargent,  o  it  as  regards  his 

.       Serpentine  Bay,  had  obtained  .m  almost 
monumental   serenity   in   his   From   ■ 

I  in     cen /ed  a  i  mmed   in  1>>  ti 

irk  roi  k.  above  which  rosi    mow  covi  red 

acl 

almost  m  fiat  tones,  the  picture  was  singularl)  in  pn 
Another  good  landscape  was  the  Moonriseoi  Mr.  Edward 


DWARD    \  I. 

■  i         |OHN    COPL1  Yi.    AFTER    ll"l  I  I 


'7" 


The    Connoisseur 


Chappe],  an  artist  who  is  steadily  acquiring  a  more  robust 
individuality.  He  had  avoided  the  exaggerated  con- 
trast of  light  and  shade  so  common  on  renderings  of 
moonlight  effects,  and  every  portion  of  his  theme  wa  u  I 
down  in  its  true  local  colour  with  full   regard   for  its  at- 

pheric  environment.      Mr.  Sydney  Lee's  Fortress — a 

border  tower  apparently  converted  to  residential  uses — was 
impressive,  but  rather  monotonous  in  colour  and  deficient 
in  interest.  The  Descent  from  the  Cross,  by  Mr.  Charles 
Ricketts,  and  A  Dead  Christ,  by  Sir  Charles  Holroyd, 
constituted  almost  the  only  religious  pictures  in  the 
exhibition.  Both  painters  had  approached  their  themes 
with  reverence,  and  though  neither  had  fully  risen  to  the 
gn  atness  of  the  occasion,  their  works  formed  a  real  con- 
tribution to  sacred  art,  sincere,  unaffected,  and  devoid  of 
shallow  sentimentalism.  Sir  Charles  Holroyd's  work 
was  the  least  ambitious.  A  single  kneeling  figure  beside 
the  body  of  the  Christ  served  to  personify  his  followers, 
while  a  simple  landscape  formed  the  background.  The 
main  lines  of  the  composition  were  restful  and  dignified  ; 
the  sentiment  of  the  picture  was  one  of  calm  and  tran- 
quillity ;  it  revealed  death  as  a  haven  of  peace.  Mr. 
Ricketts  had  seen  his  subject  entirely  differently.  His 
colour  was  sweet  and  harmonious,  but  the  lines  of  his 
composition  were  arranged  in  a  series  of  gyrating  curves, 
which  rendered  it  instinct  with  tumult  and  movement. 
The  figures  of  the  Virgin  and  her  female  companions,  cast 
on  the  ground  in  an  abandonment  of  grief,  carried  out 
the  same  thought.  It  was  not  the  triumph  of  completed 
sacrifice  that  the  artist  had  tried  to  express,  but  the 
anguish  of  death.  Among  other  works  of  interest  were  Mr. 
Francis  Howard's  Interlude,  a  picture  of  a  girl,  who,  from 
her  attire,  had  evidently  been  taking  the  part  of  "prin- 
cipal boy,''  resting  on  a  sofa — there  was  much  sterling 
work  in  this,  but  the  interest  was  too  much  concentrated 
in  the  lower  portion  of  the  canvas;  Mr.  Charles  Buchel's 
portrait  of  Miss  Ethel  Marsh,  an  attractive  arrangement 
in  blue  and  silver;  Miss  Flora  Lion's  group  of  The 
Countess  of  Carrick  and  Children,  with  its  fresh  colour 
and  unconventional  arrangement ;  and  M  r.  E.  A.  Walton's 
The  Mother.  The  last-named  picture  would  have  been 
improved  if  the  artist  had  altered  the  position  of  one  of 
the  woman's  arms  so  as  to  support  the  child  she  was  hold- 
ing, for  the  urchin  appeared  to  be  resting  on  nothing. 

WHILE  it  can  hardly  be  gainsaid  that  constant  evolu- 
tion is  in  some  degree  needful  to  art's  welfare,  if  not  to 

.  its  very  life,  this  inherent  need  is  often 

Edinburgh  and  ,    ,            ,             ,      ,      ,         ,- 

&  undulv  emphasised.   And  too  trequent- 

Crlasgow :  ,      ■     .            ,                           .        ,.     ,      , 

„.    .  Iv   it  is  made  an  excuse  for  slipshod 

Modern  '                   ,  .                ,                     . ' 

„,,  ,  craftsmanship,  another  favourite  ex- 
Monochrome 

cuse  for  the  latter  being  that  the  artist 

must  needs  express  his  individuality  rather  than  work 
in  accordance  with  a  definite  regime.  Yet  is  there  not 
something  common  to  the  really  great  productions  of 
each  separate  age,  however  diverse  in  manner,  however 
redolent  of  their  respective  makers'  personalities?  And 
Ruskin — to  whose  thoughtfulness  and  scholarship  many 
people  are  apt  to  be  blinded  nowadays  by  his  unfor- 
tunate  failure  to  appreciate   Whistler — was  abundantly 


justified  in  maintaining  that  there  exists  an  eternal  cri- 
terion in  art,  this  being  especially  the  case,  perhaps, 
where  work  in  monochrome  is  concerned.  For  although, 
of  course,  Rembrandt  materially  augmented  the  pro\  nn  e 
of  etching,  teaching  those  who  practise  it  to  attain  a 
greater  richness  of  tone  than  had  been  seen  therein 
previously  ;  and  although  a  like  development  has  slowly 
been  brought  about  in  lithography  by  various  men — for 
instance,  Delacroix — this  does  not  vitiate  the  contention 
that  the  beauty  pertaining  to  the  fine  prints  of  all  periods 
is  largely  similar,  depending  mainly,  as  it  does,  upon  good 
design.  Accurate  drawing  may  be  taught,  and,  valuable 
as  that  capacity  is,  its  possession  does  not  nece^ 
constitute  a  skilled  etcher  or  lithographer ;  but  a  real 
feeling  for  artistic  arrangement,  a  genuine  gift  therefor, — 
these  are  things  which  are  inborn,  these  are  what  a 
worker  in  any  field  of  monochrome  chiefly  needs.  And 
the  truth  of  all  this  has  been  brought  home  forcibly  to 
the  writer  lately  while  studying  two  singularly  enjoy- 
able exhibitions,  the  one  at  Messrs.  Connell's  gallery  in 
Glasgow,  the  other  at  Messrs.  Doig,  Wilson  and  Wheat- 
ley's  in  Edinburgh,  the  nucleus  in  each  case  being  com- 
posed of  quite  recent  art  with  acid  and  needle.  Indeed, 
the  avowed  raison  detre,  in  either  instance,  is  to  give 
publicity  to  the  very  latest  achievements  of  the  latest 
noteworthy  etchers,  some  of  whom  are  represented  at 
both  shows  with  identical  prints.  And  the  two  collections, 
accordingly,  may  aptly  be  criticised  together,  another 
which  may  well  be  spoken  of  along  with  them  consisting 
exclusively  of  lithographs  by  Miss  Ethel  Gabain,  these 
being  mustered  at  Messrs.  Annan's  in  Glasgow.  Xor 
must  all  available  space  be  used  without  a  few  words,  if 
only  a  few,  concerning  certain  pictures  which  Miss  Sarah 
(',.  Adamson  is  exhibiting  in  Edinburgh. 

Among  works  by  the  less  familiar  of  these  etchers,  one 
of  the  very  best  is  Mr.  E.  B.  Robertson's  Richmond  Castle, 
wherein  is  registered  happily  one  of  those  moments  when 
nature  requires  a  strangely  romantic  aspect.  Turner 
would  have  liked  this  print,  marking  in  it  something  of  a 
resemblance  to  divers  pages  in  his  own  Liber  Studiorum  : 
while  he  would  have  been  quick  to  praise  the  fine  sense 
of  largeness  embodied  in  a  number  of  Mr.  Oliver  Hall's 
landscapes,  and  a  speedy  appeal  would  have  been  made 
to  him  by  those  of  Mr.  Bernard  Eyre,  in  each  of  which 
the  distance  has  a  beautiful  look  of  remoteness,  light 
being  also  suggested  ably.  The  latter  element,  ap- 
parently, holds  little  interest  for  Miss  Katherine  Cameron, 
who  nevertheless  etches  flowers  and  insects  with  a  rare 
charm,  one  for  whose  like  it  were  necessary  to  look  to 
the  art  of  the  ( )rient  ;  and,  if  it  must  be  owned  that  her 
plates  are  almost  too  slight  and  small  to  be  suitable  for 
actual  wall-decorations,  it  is  equally  certain  that  they 
would  make  delightful  book-illustrations,  the  same  being 
true  of  some  rather  Diireresque  studies  in  architecture  by 
the  French  artist,  M.  Bejot.  He,  like  Miss  Cameron, 
is  evidently  uninterested  in  light ;  but  the  able  handling 
of  this  last  is  met  with  once  again  when  scanning  the 
creations  of  Mr.  Martin  Hardie,  Mr.  Alfred  Hartley,  and 
Sir  Frank  Short,  all  of  whom,  waiving  their  skill  herein, 
manifest  eminentlv  that  feeling  for  design  exalted  above 


180 


Cu rn v/ /   Art   Xotes 


as  the  capacity  most  indispensable  for  an  etcher.  Look, 
for  example,  at  Mr.  Hardie '-.  Lonely  Willow,  al  Mr.  Hart- 
ley'-. Roadway  in  Northern  France  and  Near  Montreuil, 
or,  better  still,  at  Sir  Frank's  Solway.  In  these  prints 
nothing  is  particularly  well  drawn,  yet  in  each  instance 
there  is  not  one  of  the  scanty  details  whose  position 
could  be  altered  without  injury  to  the  general  effect,  the 
result  being  complete  and  beautiful  works  of  art — etchings 
comparable  to  poems  in  which  something  is  stated  with 
the  only  possible  words  in  the  only  possible  pi 

A  further  etcher  evincing  real  talent  is  Mr.  N.  Sp 
whose  landscapes  mostly  contain  a  fine  suggestion  of 
atmosphere  :  while  three  men  who  exhibit  notable  archi- 
tectural studies  are  Messrs.  A.  Affleck,  F.  A.  Fanell,  and 
A.  E.  Howarth.  Turning  from  their  prints  to  those  of 
Miss  Gabain — who  has  been  widely  acclaimed  of  late 
as  an  adept  in  lithography,  and  who  figures  in  the  new 
edition  of  Mr.  Joseph  I'ennell's  invaluable  treatise  on 
that  art — the  first  impression  received  is  slight  disappoint- 
ment. For  the  artist,  being  mainly  concerned  with  the 
Parisian  demi-monde,  suffers  by  inevitably  provoking 
comparison  with  the  brilliant  Gavarni,  who  handled  this 
topic  on  many  hundreds  of  stones.  And,  clever  as  Miss 
Gabain's  works  of  this  sort  are,  she  is  really  far  more 
prepossessing  in  her  landscapes,  in  several  of  which  she 
has  accentuated  the  strong  blacks  at  just  the  right  places  ; 
while  a  few  of  her  portraits  are  well  posed,  notably 
He,  which  adequately  fulfils  its  title,  a  transient 
mood  of  dr<  aminess  on  the  sitter's  part  being  adumbrated. 
In  a  number  of  her  works  in  these  last  two  classes  the 
artist  has  attained  that  pleasant  softness  to  which  litho- 
graphy lends  itself  in  expert  hands  ;  yet  (he  best  of  her 
prints,  possibly,  is  one  whii  h  is  1  ly  wrought  in  a 

harder,  sharper  fashion,  inasmuch  as  it  reproduces 
Holbein's  Edward  VI.  And  it  is  to  be  hoped  that  Miss 
Gabain,  instead  of  resting  content  with  this  one  lithograph 
after  an  old  master,  will  see  fit  to  follow  it  bj  a  -'lies. 

Espousing  a  plan  which   would  seem  to  be  growing 
more  common  by  degrees.  Miss  Adamson  has  not  sent 
her  works  to  a  gallery,  preferring  to  invite   pre 
public  to  her  own  studio  ;  and  if,  on  initial  a<  quaintam  e 
with   her  output,  it   looks   infinitely   slight,    is   this   not   a 
itive  slightness  like  that  of  tempered  steel  ?    Not  that 
strength,  in  the  usually  aci  epted  sense  ot  the  term,  is 
disclosed   by  anything  from  this  artist's  hand:  yet  how 
great,  in  real  it)-,  is  the  gift  she  demonstrates  !     Her  sure 
llustrated  by  her  handling  of  birches  in 
still   more   noteworthy   in   a   set  of 
diminutive  figun       u<    i      done  on   vellum,   that   difficult 
medium  sacred  to  the  mediaeval   missal-painters.      And 
fh  grasp  of  its  possibilities,  frequently 
'  ompa     ing  therewith  the  glitter  and  piquancy  of  colour 
which  are  almost   its   prerogative,  while   in   her   pen-and- 
ink  drawings  she  shov  ell  equally  a  virtuoso.     Here 
again  is  grace,  together  with  th.it  quality  of  design  which 
is  more  important. 

Exhibition  of  Old  English  Plate 

Tut.   exhibition  of  old    English   plate  held   at    Messrs. 
I        ■  i.   Ubemai  le  Street,  W.    from  June  7th  to 


i8th,  in  aid  of  the  British   Red  isisted 

of  a  particularly  choice  and  valuable  selection.      E  | 
ally  conspicuous  was  the  series  lent  by  then      ' 
the    King    and    Queen.       His     M  i  est)  -    fine    epergne, 
canopy  form,   i".  ted  no  little  attention,   a 

also  the  Queen  Anne  cup  and  cover,  which  was  pre- 
sented by  that  sovereign  to  Sir  John  Leake,  captain  of 
the  Eagle,  at  the  battle  of  La  Hogue,  and  bears  the 
inscription:  "The  Gift  of  Her  Majesty  for  ye  battle 
fought  against  ye  French  Fleet  oft"  Cape  Malaga,  in  ye 
Mediterranean,  ye  13  of  August.  1704."  Other  items 
of  importance  were  the  coffee-pot  which  formerly  be- 
longed to  William  and  Mary,  and  is  engraved  with  the 
royal  cypher  and  arms,  and  the  large  cup  and  cover 
presented  to  Sir  Thomas  Mundy,  Mayor  ot  Oxford, 
in  1761.  It  is  obviously  impossible  for  us  to  record 
in  the  space  at  disposal  anything  like  an  adequate  de- 
scription of  the  various  pieces,  but  mention  should  be 
made  of  the  King's  pair  of  goblets,  made  in  1660  and 
used  at  the  coronation  banquet  of  William  and  Mar)  : 
Queen  Alexandra's  tall  cup  and  cover,  \<~)\  in.  high, 
Italian  sixteenth-century  style,  designed  in  three  tiers 
with  various  architectural  and  symbolical  decorations, 
whilst  on  the  cover  stands  a  figure  of  Chronos :  the 
Marquess  of  Downshire's  corporation  maces  of  Hills- 
borough and  Blessington;  Mrs.  Hornsby  Drake's  steeple 
salt  of  1 59v.  height  \i>\  in.  ;  Queen  Alexandra's  pair  of 
circular  gilt  tazze,  which  were  presented  to  the  first  Duke 
of  Cambridge,  and  bear  the  initials  and  1  oronets  of  h  - 
brothers  and  sisters ;  Sir  Ernest  Cassel's  "Blacksmith's 
Cup"  of  i'>5;.  which  was  "the  Gift  of  Christopher 
Pym  upon  his  admission  to  the  place  ol  Clerke  of  this 
Company  "  (the  Blacksmiths'  ,  the  stem  being  fashioned 
like  a  figure  of  Vulcan,  and  the  same  owner's  steeple 
cup  of  1610  and  bell  salt  of  1597.     The   Man 

rcular  plain  sal'  1  1040.  engraved 

with  the  aims  of   Elizabeth,  Countess  oi  Strafford,  on 
winch  Thomas  Wentworth,  Earl  of  Strafford,  was  ■■ 
for  the  last  time   in   [641  ;    Mr.  John   Noble  a  Flemish 
sixteenth-century  rose-water  dish  and  ewer,    as  well  as 
many  Other  beautiful  pieces;   and   the    Duke    of  Norfolk 
the    famous   Howard   Grace  cup,    [525,    which   wa 
queathed    to    [Catherine    ol     \xragon    b)    Sii     Edward 
Howard,    standard-bearer  to    Henry   VIII,      After  the 
death   of  the  Queen   it  reverted   to   the    family   of  the 
donor.     The    Duke   of   Portland   was   repn 
very  numerous  collection,  amongst  which  were  specially 

able  the  pair  of  fire-dogs  made  by  Philip  I 
in  1704,  which  beat  the  arms  ol  Queen  Vnne,  and 
given  to    Robert    Harley  by  royal  warrant,   July   15th, 

a    gilt    to  I    with    mytholi 

subjci  -        1690;  the  gold  christening   font,   with  its 

ol    Faith,    Hope,    and    Charity,   marie   by    Paul 
Storr  for  the  baptism  of  William  Henry,  eldest    0 
the    fourth    Duke  of    Portland  welled 

and  enamelled  ■nth-century  German 

!  1,      I  .ui   of   Rosebei  |  p  and 

lie  attentii  n  1  many 

of   the    pieces    lent  Ufred    tie    Rothschild 

thi    Eli;  abethan  "  Dolp 


[81 


The    Connoisseur 


cup  and  cover  of  1824,  and  a  gold  teapot,  which  was 
the  King's  plate  tor  mares,  and  was  won  by  "Legacy" 
at  Newmarket  in  1736.  Mention  can  only  be  made  of 
the  collections  loaned  by  Lieut. -Col.  Stanyforth  which 
included  two  fine  potato  rings  ,  Lord  Swaythling,  Mr. 
B.  J.  Warwick,  Mr.  Asher  Wertheimer  (including  a 
magnificent  epergne  and  plateau  of  1755),  and  Mr. 
F.  A.  White ;  but  special  notice  should  be  accorded 
to  Mr.  C.  Jackson's  wonderful  complete  set  of  thirteen 
apostle  spoons  of  1638.  Possibly  the  most  apropos 
exhibit  of  the  whole  collection  was  the  series  of  plate 
belonging  to  Nelson  and  bearing  his  coat  of  arms,  which 
came  from  the  Bridport  collection  of  Nelson  relics,  and 
has  been  placed  at  the  disposal  of  the  Navy  League 
by  an  anonymous  donor.  The  pieces  were  in  use  on 
the  Victory  right  up  to  Trafalgar. 

There  are  few  collections  of  plate  more  interesting 

than  those  which  belong  to  some  of  the  English  regi- 

„    ,   ,  .  .          ,  mental    messes.       This   is   less   on 

txhibition  of  r    ,       ,                  .    ,       .     ,. 

„  .  .  .  account  of  the  beaut v  of  the  mdi- 

British  ,     . 

D      .         .   ,  r,,  .  vidual  pieces  than  that  nearly  every 

Regimental  Plate  r                                      '          ' 

one  is  a  memento  of  some  gallant 

action  performed  by  the  regiment,  noteworthy  event  in 
its  history,  or  of  some  distinguished  officer  belonging  to 
it.  Thus  a  look  through  the  loan  collection  of  regi- 
mental plate,  in  aid  of  the  British  Red  Cross  Society, 
exhibited  at  the  Goldsmiths'  and  Silversmiths'  Company, 
Ltd.,  1 12,  Regent  Street.  W.,  was  like  reading  a  chapter 
of  history  presented  in  a  novel  and  intimate  manner. 
One,  unfortunately,  must  place  the  adjective  "  modern  " 
before  the  word  "  history,"  for  comparatively  little  of  the 
old  plate  has  survived  the  vicissitudes  of  campaigning 
and  travel.  Much  of  it  has  been  lost  at  sea,  and  some 
of  it  has  fallen  into  hostile  hands.  Thus  the  gift  of  a 
large  silver  service  by  the  Colony  of  Dominica  in  1805 
to  the  2nd  Battalion  Duke  of  Cornwall's  Light  Infantry 
was  not  only  intended  to  commemorate  the  successful 
defence  of  the  island  but  to  serve  as  a  substitute  for 
the  earlier  pieces  lost  on  that  occasion.  A  handsome 
antique  silver-gilt  cup  on  silver  pedestal,  designed 
by  the  Princess  Augusta,  now  belonging  to  the  Cold- 
stream Guards,  was  presented  by  that  regiment  to  the 
Duke  of  York  on  his  retirement  from  it  as  Colonel,  and, 
after  passing  through  the  hands  of  the  two  Dukes  of 
Cambridge,  was  purchased  on  the  death  of  the  last  one 
and  given  by  an  anonymous  donor  back  to  the  regiment. 
Some  of  the  pieces  are  trophies  won  at  military  race 
meetings;  and  one,  a  silver  model  of  a  Nile  boat,  be- 
longing to  the  1st  Battalion  of  the  Royal  Irish  Regi- 
ment, though  not  coming  within  this  category,  represents 
the  prize  for  what  was  one  of  the  keenest  races  on  record 
— the  race  in  1885  of  the  English  forces  up  the  Nile  to 
save  Gordon.  The  trophy  was  bought  with  the  £\oo 
presented  by  Lord  Wolseley  and  won  by  the  "splendid 
battalion  by  having  come  up  the  Nile  to  Debbeh  in 
boats  in  less  time  than  any  other  regiment."  Many  of 
the  trophies  were  highly  interesting  as  records  of  British 
uniforms  at  various  periods.  Besides  the  examples  of 
regimental  plate,  there  were  shown  many  fine  trophies  lent 


by  private  and  other  owners  connected  with  military  and 
naval  history.  In  this  section  were  included  a  silver 
centre-piece,  lent  by  the  Duke  of  Marlborough,  represent- 
ing the  first  duke  writing  on  the  field  of  battle  his  famous 
dispatch  announcing  the  victory  of  Blenheim  :  while  the 
Duke  of  Wellington  lent  the  well-known  Wellington 
shield  designed  by  Thomas  Stothard,  R.A.,  and  presented 
to  the  "  Iron  Duke  "  by  the  merchants  of  London. 

One  of  the  few  important  picture  sales  since  the  out- 
break  of  war  took   place  on   June   7th  and    8th,   when 

T,  „  ,  „  ,  Messrs.  Knight,  Frank  &  Rutlev 
The  Sydney  Sale       ,.  ,    ..       _ '  ,, 

dispersed   the   Sydney   collection    of 

old  family  portraits  and  other  pictures  at  Frognal, 
Chislehurst.  The  highest-priced  item  in  the  sale  was 
a  three-quarter  length  portrait  144  in.  by  34  in.  1  of 
Madame  I  'ige'e  I.c  Brun,  /yS2,  by  herself,  which  had 
been  given  to  Earl  Sydney  by  the  Empress  Eugenie. 
This  artist  may  not  have  painted  self  portraits  more 
frequently  than  other  painters,  but  they  are  generally 
among  her  more  successful  works,  and  several  of  them 
are  well  known  from  being  in  public  galleries.  The 
present  version  represented  her  in  white  dress,  lace 
collar  and  cuffs,  holding  a  garland  of  flowers  and 
wearing  ostrich  feathers  in  her  powdered  hair.  After 
a  spirited  competition  it  fell  to  a  bid  of  ,£6,930.  Works 
by  other  well-known  artists  included  the  following  : — 
Thomas  Gainsborough,  K.A.,  Miss  Marsham,  in  white 
dress  and  high  coiffure,  half  length  (29  in.  by  24  in.  1, 
£3,600;  Sir  Joshua  Reynolds,  P.  R.A.,  George  Selivyn, 
wearing  green  coat,  powdered  wig,  and  white  cravat, 
half  length  (29  in.  by  24  in.),  .£735;  George  Romney, 
John  Thomas,  second  Viscount  Sydney,  in  blue  coat, 
yellow  vest,  and  white  cravat,  half  length  (29  in.  by  24  in.  I, 
^787  10s.  :  and  John  Wootton,  A  Landscape  Portrait 
Group  of  Sir  Robert  Walpole,  with  groom  holding  a 
hunter,  and  hounds  60  in.  by  55  in.  1,  ,4294. 

The  chief  failing  in  the  British  Industries  Fair, 
held  under  the  auspices  of  the  Board  of  Trade,  at  the 
Agricultural  Hall,  was  the  smallness 
of  the  space  at  the  command  of  the 
executive.  The  hall  is  a  large  build- 
ing, but  to  organise  a  fair,  giving  adequate  illustration 
of  the  various  British  industries  represented,  would  need 
not  one  but  several  buildings  of  the  kind.  Nevertheless, 
the  fair  was  thoroughly  successful,  and,  following  as  it 
does  on  the  large  British  pottery  fairs  held  this  year 
and  last  at  Stoke-on-Trent,  may  be  taken  as  an  instance 
that  the  English  manufacturer  is  at  last  waking  up  to  the 
imperative  necessity  of  holding  exhibitions  of  this  nature. 
One  of  the  strongest — if  not  the  strongest — sections  of  the 
display  was  that  devoted  to  china,  earthenware,  and  glass. 
Most  of  the  leading  makers  were  represented,  and  though 
in  the  comparatively  small  space  at  command  they  could 
not  do  full  justice  to  the  variety  and  extent  of  their 
productions,  they  were  able  to  show  their  more  recent 
novelties  and  examples  of  their  typical  wares.  It  is  to 
be  hoped  that  an  enterprise  so  well  initiated  will  be 
continued  next  year  on  a  much  larger  scale. 


British  Industries 
Fair 


182 


2#K 


1U0  tempos  cum 

mis  efta  ^giticdt 

itrutiisuTvts 


^Connoisseur: 

BOOKSHELf 


^^=~-       =re*»«t»-  gtf  ,„  ^  V 


"  Report  of  the 
Committee  of 
Trustees  of  the 
National  Gallery" 

THE  Report  of 
tlie  Co in mi t tic  o] 
Trustees  of  the 
National    Gallery 

has   been    issued    at 
an    unfortunate 
moment  :  the  n  ar 
has    obliterated    the 
little    interest   which 
the  British   public 
formerly  took  on  the 
subject    of  art,    and 
by  the  time  the 
conflict   is   over   the 
Committee's  repoi  t 
will  probably  be  for- 
gotten.    This  is  the 
more  to  be  regretted 
as  it  is  a   well   con 
sidered  document, 
embodying  much  in- 
formation and  main 
recommendations  of 
considerable   impor- 
tance.     The    report 
may  be  divided  into 
two  sections,  one 
concerning  modern 
art   and  the  Othi 
that   extensive    class 
of  works  which  come 
within   the  category 
of  "old  masters. 
The-  latter  have  been 
leaving  the    country 
i  n    s  c 0  res.     T h e 
i  ommitteeeive  .1 


>  -       V 


+4li,i.mifiuii+t-is+j^im}.  rrnj>J 


i  1  s  Ml-'  RN  n   RY    CANDLESTICK,    I  782 

i  ;  i     i  M     \ tIA   AND   A 

..,,    "CHATS  ON    OLD   SILVER"     I  ISIIER    UNV 

l83 


list    of    over    five 
hundred  important 
pictures  sold  out  of 
the  United  Kingdom 
during  recent  years, 
not  a  single  item  in 
which  but  would  not 
have  been  a  wel- 
come addition  to  the 
National    Gallery. 
If  the  drain   is  ■ 
tinued    at    the  same 
rate  for  a  few  yeai  s, 
it    appears    not    un- 
likely   that     no 
erpiece  of  first- 
rate  importance  will 
remain  in  the  1 
try  outside  the  public 
galleries.      Unfortu- 
nately,   the  public 
galleries    do    not 
ive  adequate 
support    from    either 
the   Government   or 
private    sources  to 
enable  them  to 

outflow   to  any 
substantial  deg 
The  annual  Govern- 
ment g rant  to  the 

National   I 
the  purcli 

t  UIl's     ,|)li' 

only  j£5,ooo — ex 

half  the  amount  that 
was  given  fiftj 
when  tin 

it  of 

,    s  "as 

tainly  under  a 
fifth  of  their  pn 


The    Connoisseur 


value.  In  other  words,  the  grant  of  ,£10,000  given  in 
[866,  and  which  u.is  not  then  considered  as  excessive, 
would  be  equivalent  in  purchasing  power  to  one  of 
,£50,000  immediately  before  the  war. 

It  is  only  fair  to  the  ( iovernment  to  state  that  during 
recent  years  the  annual  grant  has  been  from  time  to 
time  increased  by  additional  amounts,  so  that  pictures 
of  special  interest,  which  happened  to  be  in  the  market, 
might  be  secured.  Including  these  special  grants,  the 
average  amount  annually  expended  by  the  Government 
on  works  of  art  for  the  National  Gallery  since  1855  has 
been  as  follows  :  —  During  the  ten  years  1855-1865, 
£9,830;  during  the  twenty  -  four  years  [866-1889, 
£13,262;  during  the  eleven  years  1890-1900,  £8,960; 
and  during  the  eleven  years  1901-1911,  £8,820.  It 
thus  will  be  observed  that  the  last  period  shows  the 
smallest  annual   expenditure. 

If  the  country  had  had  to  depend  wholly  upon  the 
Government  grant  for  additions  to  the  National  Gallery, 
the  situation  during  the  last  few  years  would  have  been 
disastrous.  As  it  was,  it  was  to  some  extent  saved 
by  private  beneficence.  In  1903  the  National  Art  Col- 
lections Fund  was  formed  with  the  object  of  supple- 
menting Government  efforts.  Between  that  year  and 
191 1 — the  last  year  for  which  figures  are  given — while 
the  Government  grants  amounted  to  only  £82,000,  the 
Art  Collections  Fund  contributed  ,£119,700  and  various 
private  subscribers  ,£30,612.  Despite  this  munificence 
on  the  part  of  private  individuals,  the  nation  has  been 
deprived  of  many  pictures  which  would  not  only  have 
been  advantageous  acquisitions  for  the  National  Gallery, 
but  were  actually  needed  to  fill  up  gaps  in  the  collection. 
These  were  secured  not  only  by  American  multi-million- 
aires, who  may  be  supposed  to  have  been  willing  to  pay 
prices  which  no  English  government  would  have  dared 
to  rival,  but  also  by  the  national  galleries  of  countries 
far  less  wealthy  than  our  own.  The  Kaiser  Friedrich 
Museum  may  be  taken  as  an  example.  During  recent 
years  this  institution  has  bought  no  less  than  forty-five 
important  old  masters  from  English  owners.  These 
included  examples  by  the  following  artists,  who  are 
either  inadequately  represented  or  not  represented  at 
all  in  the  National  Gallery  :■•— Roger  van  der  Weyden,  1  ; 
H.  van  Eyck,  2  ;  J.  Zoffany,  2  ;  Albrecht  Diirer,  4  ; 
Joos  van  Cleef,  1  ;  Geertgen  van  Sint  Jans,  1  ;  C.  Wit/, 
1  ;  Masaccio,  1  ;  and  Sassetta,  1.  The  works  of  most 
of  these  artists  are  very  rare,  and  in  several  instances 
the  opportunity  to  secure  desirable  examples  may  never 
occur  again. 

Though  the  grants  given  by  the  Government  for  buy- 
ing old  masters  are  small  and  altogether  inadequate, 
they  are  munificent  compared  with  amounts  devoted  to 
the  purchase  of  modern  works.  Only  the  Tate  Gallery 
and  the  Victoria  and  Albert  Museum  are  concerned  with 
these  ;  the  former  is  wholly  concerned  with  modern 
English  painting,  while  the  functions  of  the  Museum, 
though  it  was  originally  wholly  intended  for  the  display 
of  applied  art,  have  been  so  extended  that  it  now  contains 
a  few  old  masters,  a  large  number  of  modern  English 
and   continental   works,   and  the    national    collection   of 


water-colour  drawings.  Oil-paintings  are  no  longer  pur- 
chased by  this  institution,  though  water-colour  drawings 
are.  The  amounts  expended  in  buying  pictures  and 
drawings  have  been  gradually  decreasing.  During  the  five 
years  1891-1895  it  averaged  ,£784  annually;  1896-1900, 
£508;  1901-1905,  ,£254;  and  1906-1910,  £179.  For  the 
last  two  years  of  the  series,  1909  and  1910,  the  total  amount 
thus  expended  in  the  recognition  of  water-colour  painting, 
the  most  truly  national  of  all  British  arts,  was  £9. 
Modern  British  oil-painting,  however,  has  fared  no  better. 
The  sums  required  for  the  purchase  of  pictures  for  the 
Tate  Gallery  are  supposed  to  come  out  of  the  grant  to 
the  National  Gallery,  and  the  trustees — perhaps  wisely, 
considering  its  small  amount — have  used  it  almost  entirely 
for  the  latter  institution;  consequently  we  have  the 
anomaly  that  the  Government  makes  no  provision  what- 
ever for  the  encouragement  of  modern  English  art.  As 
a  contrast  to  this,  in  F ranee  the  sum  of  about  ,£7,000  per 
annum  is  available  for  the  purchase  of  modern  French  art, 
while  in  Berlin  the  national  collection  of  modern  German 
art  has  an  annual  grant  of  ,£5,000.  Other  weaknesses 
of  the  English  system — or  rather  want  of  system — is  that 
no  grant  is  made  for  the  purchase  of  modern  foreign 
pictures  or  modern  sculpture,  and  the  functions  of  some 
of  the  national  collections  are  to  some  extent  duplicated  ; 
the  Victoria  and  Albert  Museum,  more  especially,  con- 
taining a  large  number  of  old  and  modern  works,  many 
of  them  important,  which  should  come  more  properly 
within  the  scope  of  either  the  National  or  Tate  Galleries. 
The  recommendations  of  the  Committee  to  mend  this 
state  of  things  are  well  thought  out,  and  are  accompanied 
by  several  independent  schemes  by  Lord  Curzon,  which 
they  generally  endorse.  The  Committee  pronounce 
against  either  placing  an  embargo  or  levying  a  duty  on 
the  export  of  works  by  old  masters.  They  recommend 
that  the  annual  grant  to  the  National  Gallery  for  the 
purchase  of  pictures  should  be  increased  to  not  less  than 
£25,000  ;  or,  failing  this,  that  a  duty  on  important  works 
of  art  sold  by  auction  should  be  levied  to  provide  a 
grant  ;  or  that  the  estate  duty  on  works  of  art  should  be 
set  aside  for  the  purpose.  Most  people  will  cordially 
agree  to  the  first  recommendation  being  enforced  directly 
the  state  of  affairs  permits.  The  expedient  of  raising 
money  by  taxing  public  sales  would  probably  only  cause 
the  more  important  works  of  art  to  be  sold  privately,  a 
procedure  which,  even  under  present  conditions,  is  more 
and  more  adopted.  A  further  excellent  suggestion  by 
Lord  Curzon  is  the  formation  of  a  Society  of  Friends  of 
Art,  under  the  patronage  of  His  Majesty  the  Kin;;,  to 
consist  of  50  members  who  would  undertake  to  contribute 
either  ,£1,000,  or,  if  this  be  thought  too  much,  £500,  for 
a  minimum  of  ten  years.  These  subscriptions  are  to  be 
devoted  to  the  purchase  of  works  of  art  for  the  national 
collections.  Other  recommendations  are  that  the  profits 
derived  from  the  sale  of  catalogues  and  photographs 
and  admissions  to  the  gallery  should  also  be  devoted 
to  this,  instead  of,  as  now,  swelling  the  revenues  of  the 
Government.  The  income  from  these  sources,  in  the 
case  of  the  National  and  Tate  Galleries,  amounts  to 
about  £3,  500,  and  could  probably  be  augmented.    Before 


184 


GEORGE    JOHN"    EARL    SPENCER,    K.G. 
BY    JOHN    SINGLETON    COI'I   I    i 

In  the  possession  a*  Earl  Spencer,   K.G.,  at     I 


The    Connoisseur  Bookshelf 


POSSET-POT    AND   COVER 


AT    VICTOR]  \    AND    \\  1:1  l         M       i 


oy 


M VRK -    ON 


;  win  ) 


leaving  the  subject  of  the  Government  grants  to  the 
galleries,  it  may  be  mentioned,  as  instances  of  the  com 
petition  they  have  to  face  in  securing  important  pictures, 
the  Metropolitan  Museum,  New  York,  in  191 1,  expended 
,£112,570  on  works  for  the  permanent  collection,  and 
that  the  income  available  for  this  purpose  is  being  con- 
stantly increased  by  bequests  anil  donations. 

01  perhaps  even  greater  importance  are  the  n 
mendations  of  the  Committee  in  regard  to  the  Tate 
Gallery.  This  institution,  which  more  than  any  othei 
should  seek  to  elevate  the  standard  of  modern  art,  is  at 
nt  so  situated  that  its  directors  can  do  little  towards 
that  end.  It  is  administered  by  the  National  Gallery 
board  of  trustees,  who  are  presumably  chosen  for  their 
knowledge  of  and  interest  in  works  b)  the  old  ma 
and  so  are  not  likely  to  have  much  regard  for  modern 
Their  tune  is  almost  wholly  occupied  with  the 
affairs  of  the  older  ga  md  the  newer  one  is  con- 

sequently neglected.  It  has  no  funds  at  its  comma 
the  purchase  ol  works  "t  art,  and  the  standard 
contents,  and  consequentlj    its  pre  red  bv 

tin:  necessity  of  having  10  house  all  the  p 
by  the  Royal  Academy  under  the  terms  of  the  Chantrey 
Bequest,   many  of  which  are  not  considered  desirable 
additions. 

The  Committee  advocate  the  gradual  conversion  of  the 


gallery   "from    .1    placi     exclusively    devoted  to   mo 
British    art   to  .1  galler     oi    British   art,    subject    to   the 
proviso  that  the  finest  examples  of  the   British  ma 
should  continue,    as   now,   to  be   hung   in   the    National 
Gallery.      The  relation  of  the  two  galleries  to  each 
would  thus    11  very  much  like  those  of  the  Luxem- 

bourg and  the  Louvre  in  Paris,  in  so  far  as  the  yot 
gallery   becomes  a  feeder  for  the  olde  1  riding  to  it 

such   pictures  as  have  attained  to  the  higher  stand. ml  ol 
the  "Id  masters."      The  National  Gallery  would  rei 
tding  down  to  the  i     llery  the  minor  w 

of  the  great  masters.     A  nei  try  to  this  is  that 

the   management  of  the  two   galleries   would   I 
main  1  mnected,  and  it  is  suggested  that  insti 

having  an  entirely  independent  b  1    illery, 

which  rould  appear  to  be  the  most  IV 

•    should    be    composed    of    four   or    five 
membi  1)  the  National  1  lalli 

an  equal  numbi  nment,  ai: 

in  addition  an  expert  ad\  brmed, 

ill)  consulted  by 
-  whenever  it  w 
'I  he  1 
Another,  the  expedii 

is  that  the  <  government  should  transfer  the  administration 
of  the  Chantrey  Bequest  fron 


187 


The    Connoisseur 


reconstituted  board  of  trustees  foi  the  Tate  Gallery.      It 
is  no  doubt  probable   that   the   board  would  securi 
more  represi       i  works  than  has  hitherto  been  done 

by  the  Academy,  but  it  may  be  questioned  whether,  as 
it  is  alleged,  the  transfer  would  be  "in  strict  a 
with  what  were  undoubtedly  the  intentions  of  Sir  Francis 
Chantrey  himself."  Chantrey  was  an  academician,  and 
his  likes  and  prejudices  in  regard  to  art  were  probably 
equally  as  academic  as  those  of  the  present  academicians. 
It  was  not  the  neglect  by  the  public  of  a  great  original 
artist  like  Constable  which  moved  him  to  make  his 
bequest,  but  their  neglect  of  Hilton,  an  academic  painter 
of  the  second  rank.  It  is.  however,  essential  that  in 
Mime  way  or  other  the  Government  should  provide  funds 
for  the  purchase  of  modern,  and  more  especially  of 
modern  English,  work.  The  urgency  of  the  matter  will 
be  understood  when  it  is  stated  that  many  sections  of 
modern  British  painting  are  better  represented  at  the 
Luxembourg  than  at  the  Tate  Gallery. 

DIGRESSIONS  from  the  point  inexcusable  in  a  lecture 

or   essay    may   lie   forgiven   one   who   only   professes   to 

,.  _,                 _,  ,  "  chat "   on   a   subject,   vet.    making 

Chats  on  Old  ,,                 .       ,  .     '         ,    ,      , 

„.,        ,,  ,  allowance  for  this,  one  feels  that  Mr. 
Oliver,     by 

.    .,         „      ,  Arthur  Havden.  in  his  Chats  on  Old 
Arthur  riayden 

fT    Fishe  ''        s   sornewriat  abused  the 

Un'win.  5s.  net)  Pnvlley"e'  accruing  to  him  from  the 
use  of  this  title.  Thus  out  of  four 
and  a  quarter  pages  devoted  to  punch-bowls,  something 
over  a  page  is  given  over  to  a  description  of  Hogarth's 
well-known  prints  of  Beer  Street  and  Gut  Latu\  while  the 
mention  of  a  punch-bowl  of  1704  serves  as  an  excuse  to 
drag  in  a  half-page  biography  of  Charles  Mordaunt,  Earl 
of  Peterborough,  merely  because  he  captured  Barcelona 
in  the  following  year.  Even  then  Mr.  Havden  is  not 
content  to  restrict  himself  strictly  to  his  subject,  but 
introduces  quotations  from  Shakespeare  and  Milton  on 
the  virtues  of  ale,  reflections  on  the  prevalence  of  spirit- 
drinking  during  the  eighteenth  century,  and  an  account 
of  the  origin  of  the  word  "punch."  It  is  little  to  be 
wondered  at  that,  after  these  inroads  on  his  space,  the 
author  has  been  obliged  to  content  himself  with  the 
description  of  one  variety  of  punch-bowl,  while  his  account 
of  punch-ladles  is  limited  to  a  warning  to  young  col- 
lectors to  beware  of  forgeries  with  dated  coins  inserted. 
The  section  on  punch-bowls  is  hardly  to  be  taken  as 
a  fair  sample  of  the  general  contents  of  the  book,  yet 
throughout  its  pages  the  author's  deviations  into  by-paths 
must  annoy  the  reader  who  is  in  quest  of  useful  informa- 
tion. The  book,  however,  also  caters  for  this  class  of 
reader.  The  tables  of  date-letters  and  hall-marks,  both 
of  London  and  the  provinces,  are  full  and  well  arranged, 
and  several  well-written  chapters  are  devoted  to  their 
explanation.  The  section  on  Church  plate,  though  not 
giving  any  pre-Reformation  pieces,  adequately  describes 
and  illustrates  various  typical  types  in  vogue  between  the 
reigns  of  Elizabeth  and  Anne.  Domestic  plate  is  more 
unevenly  treated,  but  the  chapters  on  the  subject  suffice 
to  give  the  tyro  a  good  idea  of  the  various  types.  The 
volume,  like  all  the  "Chats"  series,   is  well  illustrated. 


We  have  received  his  latest  catalogue  from  Mr.  F.  K. 

Meatyard     59,   High    Holborn,  W.C.  .  which  contains  a 

...        „       ,  number  of  interesting  items.      Es- 

A  New  Catalogue 

pecially   noticeable  are  the  original 

drawings   by  old   masters,    conspicuous  amongst  which 

ire  the  names  of  Aiken,  Cotes,  Cotman,  Gainsborough, 

.     Landseer,     Rowlandson,    Rubens,     Rembrandt. 

Van    Dyck,    and   that   little  cultivated   but   great    artist, 

Henry   Bright.     The  other   part's    of  the   catalogue  are 

concerned  with  rare  engravings  and  etching,  of  interest 

to  the  connoisseur. 


AFTER   reading    Sir  Arthur  Liberty's  interesting  diarv 

of  his  adventures,  "  kernoozing "  in  Constantinople,  one 

inclines  to  the  theorv  that  he  is  an 
The  Treasure 

Hunt :  The 


Conspirators  in 


admirer  of  Charles  Kingsley's  breezy 
style.       It    is   always    interesting   to 


Constantinople 


„  read  about  the  East,  but  the  fact  of 
the  writer  being  .1  connoisseur  of  art 
Lazenby  Liberty  object:"  confers  an  additional  charm. 
(Liberty  &  Co.  T'ie  zest  °^  acquiring  treasures  on 
2S.  6d.  net)  :'le  'Pot>  as  lt  "ere,  makes  the  pur- 

suit seem  real  and  life-like.  The 
diary  commences  with  some  account  of  Buda-Pesth. 
which,  .1,  is  lightly  observed,  "has  nothing  to  do  with 
the  Treasure  Hunt,''  and  continues  with  a  recital  of  the 
adventures  of  "  the  Conspirators  "  in  Constantinople, 
barred  for  the  present  to  travellers  out  of  uniform.  To 
this  ?ucceeds  an  entertaining  resume  of  the  purch  1 
of  beautiful  carpets  and  other  objets  d'art,  as  well  as  the 
set-backs  and  disappointments  which  attended  the  peace- 
ful campaign.  Since  this  is  obviously  one  of  the  latest 
books  on  the  subject,  we  can  foresee  that  Sir  Arthur 
Liberty  will  have  a  large  audience  to  the  history  of  his 
peregrinations. 

A  BRANCH  of  collecting  which  has  come  very  much 
to  the  fore  of  late  is  that  which  deals  with  cameos.  The 
art  is  an  ancient  one,  and  specimens 
were  prized  for  their  beauty  by  con- 
noisseurs of  ancient  Rome  just  as  much  as  by  those  of 
modern  London.  Although  the  surface  on  which  the 
artist  worked  was  necessarily  restricted,  it  is  quite  sur- 
prising how  even  subjects  comprising  many  figures  could 
be  depicted  with  real  taste  and  accuracy.  Mr.  Edward 
Good  (1,  New  Oxford  Street.  W.C.  has,  in  his  col- 
lection of  some  eight  thousand  specimens,  a  cameo 
representing  the  Triumph  of  Ceres,  which  display? 
no  less  than  twenty  -  four  figures  in  its  design.  This 
remarkable  example  was  carved  by  and  bears  the  sig- 
nature of  Lamont,  who  produced  it  during  the  early 
part  of  the  nineteenth  century.  The  cameo  is  singularly 
effective  for  decorative  purposes,  and  in  this  respect 
it  is  comparable  with  jewellery  made  from  antique 
watch-cocks,  which  may  take  the  form  of  pendants, 
necklaces,  or  "mystery"  rings  with  little  secret  boxes 
to  hold  scent.  Mr.  Good  has  published  an  interesting 
little  brochure,  fully  illustrated  is.  net,  wdiich  deals 
more  fully  with  the  subject  than  we  can  do  in  the  space 
at  disposal. 


Cameo  Collecting 


iS.S 


The    Connoisseur   Bookshelf 


Tin.  origin  of  English  place-names  is  both  a  fascinating 
and    instructive    study.      By  means  of  it  much  light   is 
thrown   on  the   distribution  of  the 
"The  Place-  eariy  inhabitants  of  the  kingdom 

Names  of  England     an(J   the   race  ,,,,,,,„  ,,(   lU  present 
and  Wales,"  by  population.     Unfortunately,  the  way 

the  Rev.  James  B.     Qf  ^  .tudem  ;s  be5et  with  difficui. 
Johnson    M.A.,  tjes;  the  primitive  names  have  be. 

'    '      ('°   n        .     come  so  changed  in  form  and  sound 
Murray.     15s.net)  ,  .        . 

'  during  the  course  <>t  centuries  that 

many  of  them  are  hardly  recognisable  in  their  present 
aspect.      Instances  frequently  occur  when  a  Celtic  name 
is  presented  under  a  Saxon  form,  resembling  it  in  pro- 
nunciation but  wholly  different  in  meaning;  while  in  a 
few  cases  nearly  all  the  many  rai  es  who  have  migrated 
into  these  islands  since  the  beginning  of  recorded  his 
appear  to  have  had  a  share   in  clothing  a  place-name 
in  its  present  garb.     The  result  1-.  that  most  books  on 
the  subject  teem  with  errors,  largely  caused  by  writers 
accepting  the  current  spelling  of  a  name  without  troubling 
to  trace  it  back  to  its  earliest  recorded  forms.      In  this 
respect  The  Place-Names  of  England  and  Wales,  by  the 
Rev.    |ames  B.    Johnson,   shows  a  marked   advance  on 
earlier  works  of  a  similar  character.     This  is  the  more 
praiseworthy, , because,  as  a  busy  clergyman  in  a  Scottish 
provincial  town,  having  only  brief  intervals  of  leisure  to 
consult  the  public  libraries  in  Edinburgh  and  Glasgow, 
he  was  greatly  handicapped  in  his  study  of  the  subject. 
With  him,  however,  his  work  has  been  a  labour  of  love, 
and  as  the  fruit  of  twenty  years'  research,  he  has  given 
us  what  is  undoubtedly  the  most  complete  and  reliable 
dictionary  of   English    place-names   that    has   yet   been 
published.      It  was,   of  course,   not  to  be  expected  that 
all    Mr.    Johnson's    four   or    live    thousand    derivations 
should   be   free  from  error,   and  several,   at  all  events, 
appear  open   to  question.      Space    will    not    permit    the 
examination   of  these   doubtful  examples,   but   one  may 
be  cited  less  with  the  idea  of  proving  Mr.  Johnson  to  be 
wrong  than  of  showing   the  enormous  difficulties  of  his 
task.     The  instance  in  question  is   " Malmesbury,"  the 
derivation  of  which  is  given  as  from  "  Madulf's  burgh  "  ; 
Maidulf,  according  to  William  of  Malmesbury,  being  an 
Irish  hermit,  who  established  a  monastery  there  during 
the  seventh  century,  in  which  the  famous  Aldhelm,  Bishop 
of  Sherborne,  was  one  of  Ins  pupils.     William  attempts 

to  prove  his  assertion  bj   1  iting  an  early  charter  in  which 

Bishop  Leutheris,  of  Winchester,  grants  to  Aldhelm,  the 

priest,  land  the  name  of  which  is  Maidulfsbrig.  This 
charter,  if  genuine,  would  conclusively  identify  Malmes- 
bury with  Maidulfs  town,  the  name  of  the  mona 
where,  according  to  Bede,  Aldhelm  was  educated.  On 
the  face  of  it.  Mr.  Johnson  was  justified  in  accepting  im  h 
authority  as  conclusive.  Mr.  A.  F.  Leach,  however,  in 
his  interesting  Schools  oj  Mediaeval  England,  has  gone 
still  deeper  into  the  matter,  and  has  practically  p 
that  William  of  Malmesbury's  seventh-century  chartei 
was  a  pious  fraud,  that  it  is  que  I  onable  whether  the 
Irish  hermit  Maidulf  was  not  merely  a  figment  of  his 
imagination,  and  that  Aldhelm  had  probably  no  con- 
nection  at  all  with  Malmesbury.  The  derivation  of  the 
name   he  gives  as   being  from  "the  bury  or  fortified  hill 


of  malm.''  This  is  probably  correct,  for  the  Ordnance 
Geological  Survey  shows  Malmesbury  as  the  northern- 
most and  culminating  point  of  a  narrow  streak  ot 

.  or  malm.  whi(  h  las  west  of  the  chalk  which  fi 
the  greater  part  of  Wilts. 

M.i,]    abbreviations    of    standard    works    are    to    be 
avoided.      A    book    which    has    attained    a    position    as 
a  classi,    is  generally  of  sufficiently 
"Memoirs  of  the       sustained  interest  to  make  every 
Duke  de  Saint  W(,n|  ,jf  ;t  worth  rcading  :  and  this 

Simon,"  an  ^^    l10vvever]    ;s  made    gooi 

abridged  trans-  no(  a    fcw   exceptions— exceptions, 

Ution  by  Francs      molcovel.    which  wil,  ;,nm    more 

numerous  as  the  mass  of  literature, 
which   each  student   must   master 


before   he  can   be  considered  well 


Arkwright 

Vols.  I.  and   II. 

(Stanley  Paul 

and  Co.,  in  6  vols. 

,,  ,         .,     read,  grows  more  prodigious. 

10s.  6d.  each   net)  '  = 

These    exceptions    must     obviously 

include  the  Memoirs  of  the  Puke  de  Saint  Simon.  It 
is  a  work  of  enthralling  interest,  which  no  student  ot 
the   periods  of  Louis  XIV.   and   Louis   XV.    can 

lect,    but  its  immense   bulk   may   well  daunt   the 
hardiest  reader.      Saint  Simon,  though  a  genius,  was  not 
a    professional    writer,    and    he   possessed    main    ol    the 
failings  of  the  amateur.      His  narrative,  almost  epigram- 
in  its  terseness  in  places  where  his  pen  was  cai    ei 
by  strong  personal  feeling,  at  other  times  bei 
prolix,  and  more  especially  is  this  the  case  when 
prerogatives  of  his  ducal  title  were  concerned.      1  >n  this 
subject  Saint  Simon  was  obsessed ;  any  infringeme 
his   rights   he   treated   with    a    prolixity   of   detail    which 
speedily  becomes  wearisome  ;  so  that  a  judicious  curtail- 
ment   ot   his   book   can   well  be  made  without   depriving 
it   of  any  of  its  essential    interest  or   charm   ot   p< 
ality.      Mr.    Francis  Arkwright    in    his   newly   pub! 
translation  has   sin  reeded  in  achieving  this.  Ins  ab 
ment    reading     like    an    original    work,    and    preserving 
the  raciness  of  Saint  Simon's  narrative  to  a  remarkable 
ee.      This  is  the  more  praiseworthy  as  the    Dukes 
French  is  by  no  means  ,1    ide  iui  n  col- 

loquialisms which  are  difficult   to  transfer  10   a   fo 
language.     The  first  two  volumes  of  the  translation  take 
the  reader  up  to  the  death  of   Madame  de   Montespan   in 
1707.     The\   cover  the  period  of  the  zenith  of  Lotus  XIV. 
and   his   decline.       It         a   wonderful    panorama  of  the 
age  that   Saint  Simon   presents  to  us.  the   more   1  on 
and  graphic  because  he  was  an  observer  rather  than  an 
ai  toi    m    the  gii'.ti    events  among    which   he   moved,    and 
could  view  tin-in  with  a  certain  amount  ot  detachment. 
I  h. nigh  not  in  office,  he  was  general!)  taken  into 
ridence   by   those   who   were,   ami   so  the   motives   under- 
lying the  acts  ot  the  kmg   and  his  ministers  wen 
hare  to  his  pitiless  scrutiny.       In   the  att  ot  drawing  a 
ke   portrait   in  a  few    pregnant  sentences,  and   ot 
1  ting  a  dramatii    s<  ene  with  a  vi\  idness 
tion    that   mak.  ai    real,    the   duke   has  had   leu 

rivals.     Mr.  Arkwright's  translation,  in  spite  1 
densation,   ma  n  ■     one  ol  the  best 

perhap  .even  the  besl     English  editions  of  the  Memoirs 
fi  .1  the  general 


189 


The    Connoisseur 


VALUATION    AND 
CORRESPONDENCE  DEPARTMENT 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  increased  correspondence  and  the  fact  that  The  Connoisseur  is  printed  a  month  before 
publication,  it  is  impossible  for  us  to  guarantee  in  every  case  a  prompt  reply  in  these  columns,  an 
immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  where 
necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  goods  should  be  addressed  to  the 
"Manager  of  Enquiry  Dept.,  The  Connoisseur,  35-39,  Maddox  Street,  W." 


ANSWERS    TO    CORRESPONDENTS 


Engravings   and  Etchings. 

Bartolozzi  Prints.  —  A9.394  (Ware).  —  If  your  four 
coloured  engravings,  entitled  Morning,  Noon,  Evening,  and 
\  .  by  F.  Bartolozzi  and  Tomkins,  alter  Hamilton,  are 
genuine,  they  are  of  some  value,  but  as  there  have  been 
numerous  reproductions,  we  must  see  the  prints  themselves 
before  appraising  a  definite  value. 

Wood  Engravings  by  F.  Sandys.—  Ac,, 397  (Bishop's 
Waltham). — To  answer  the  whole  of  your  enquiry  would  neces- 
sitate a  lengthy  search  at  the  British  Museum.  We  can  say 
briefly,  however,  that  (i)  //appeared  in  The  Argosy  (which 
commenced  in  1868),  the  original  drawing  being  exhibited  at 
the  "  Arts  and  Crafts  "  of  1893  :  (2)  Medea  was  reproduced  as 
a  silver-print  photo  in  Colonel  Richard's  poem  of  that  title 
(Chapman  &  Hall,  1S69)  ;  and  (3)  DanJe  appeared  on  page  147, 
Volume  III.,  of  the  Century  Guild  Hobby- Horse  (Chiswick 
Press). 

Miscellaneous. 

Abraham  Burton,  Watchmaker.  —  A9.387  (Wake- 
field).— Abraham  Burton,  the  watchmaker,  was  apprenticed  to 
Richard  Masterman  in  1650.  He  entered  the  Clockmakers' 
Company  in  1657,  and  was  living  in  1700. 

Royal  Academy. — A9,3S9  (Taunton). — The  Royal  Aca- 
demy was  founded  in  1768,  the  first  president  being  Sir  Joshua 
Reynolds.  Burlington  House  did  not  serve  as  the  headquarters 
until  1869.  Previous  to  then,  the  exhibitions  had  been  held  at 
Pall  Mall,  Somerset  House,  and  the  National  Gallery. 

Painters   and   Paintings. 

Unidentified  Paintings.  —  An, 335  (Portsmouth).  — 
Owners  of  unidentified  paintings  of  all  descriptions  should 
have  them  reproduced  in  our  NOTES  and  Queries  Section, 
which  has  proved  an  excellent  medium  for  all  purposes  con- 
nected with  the  tracing,  locating,  or  ascription  oi  works  of  art 
of  all  descriptions.  The  April  instalment  introduced  a  remark- 
able case  of  identification  to  our  readers.  The  two  paintings 
reproduced  side  by  side  on  page  211  of  that  issue,  the  original 
portrait  of  Jules  H.  Forget,  1779.  and  the  copy  made  specially 
for    another    branch    of   the    family,    have    attracted    no    small 


attention  from  art-lovers.  And  this  is  only  one  from  the  lengthy 
list  of  successes  achieved  by  the  department,  which,  apart  from 
the  general  interest  attaching  to  them,  afford  excellent  proofs 
of  the  value  of  Noi  ES  AND  QUERIES  a-  a  medium  of  identifica- 
tion. Possessors  of  doubtful  pictures  have  applied  to  us  as  a 
last  resource,  and  if  they  have  any  appreciable  interest  attaching 
to  them,  the  desired  information  is  almost  certain  to  be  elicited 
1  or  later.  The  Connoisseur  reaches  collectors  even 
in  the  most  remote  portions  of  the  civilised  world,  which,  of 
course,  does  not  include  certain  European  countries  at  the 
present  day,  and  thus  provides  a  means  of  communication  be- 
tween connoisseurs  who  would  otherwise  have  been  entirely 
cut  off.  We  are  glad  to  say,  moreover,  that  those  who  have 
exhibited  their  treasures  in  these  columns  express  their  satis- 
faction at  the  method  of  reproduction,  the  fixed  charge  for 
which  is  10s.  6d.  per  block.  A  recent  letter  from  an  American 
client  says,  "  I  wish  to  tell  you  how  much  I  liked  the  way  you 
handled   my   portrait;    the  cut  was  splendid.      I  thank  you": 

whilst  a  Scottish  correspondent  writes,  "The  portrait  of 

looks  very  well  in  your  i-s.te  ;  thanks."  The  Enquiry  Manager 
is  always  pleased  to  give  further  information  on  this  subject 
and  to  answer  questions  which  may  occur  to  intending  clients. 

Water-Colours  by  T.  B.  Hardy.— A9. 395  (Gerrard's 
Cross). — At  Christie's,  March  7th,  1910,  Portsmouth  (15J  in. 
by  39i  in.),  by  T.  B.  Hardy,  realised  /,27  6s.,  whilst  the  same 
artist's  Venice  (12;  in.  by  20  in.)  sold  for  .£33  I2s.  at  the 
same  rooms  on  November  2Sth,  19 10.  We  should  require  to 
see  the  paintings  you  mention  before  being  in  a  position  to 
appraise  a  value. 

II   Kustico. — A9, 396  (Edinburgh). — "II  Rustico"  was  the 

appellation  of  Rustici,  a  Sienese  painter  of  grotesque  subjects, 
who  lived  during  the  sixteenth  century.  His  grandson,  who 
died  in  1625,  was  called  "  II  Rustichino,"  and  painted  his- 
torical works.  Francesco  Ruschi,  or  Rusca,  as  it  was 
sometimes  spelt,  was  a  seventeenth-century  historical  painter 
at  Rome,  and  studied  under  Michael  Angelo  da  Caravaggio, 
the  celebrated  Italian  artist  (1569-1609). 

Muccioli. — A9,;99  (Worcester). — There  were  two  painters 
of  this  name,  father  and  son.  The  former,  Bartolomeo, 
flourished  at  Ferrara  during  the  fifteenth  century,  whilst  the 
latter.  Benedetto,  lived  at  Urbino  circa  1402.  Both  produced 
historical  subjects. 


190 


The   Connoisseur 


Wills  and  Testaments: 

Their  Value  to  the  Antiquary,  the  Genealogist,  and  the  Topographer 

BY    RICHARD    HOLWORTHY,    F.S.G. 


CONSIDERING  the  gicat  amount  of  valuable 
information  which  is  to  be  obtained  from  wills  for  the 
antiquary,  as  well  as  for  the  genealogist  and  topographer, 
it  is  surprising  that  more  use  has  not  been  made  of  these 
records  in  the  past,  or  at  all  events  that  more  exhaustive 
searches  have  not  been  made  in  them.  Indeed,  many 
county  and  parish  historians  have  entirely  ignored  the 
fund  of  personal  information  contained  in  wills,  some 
on  account  of  the  immense  amount  of  material  to  be 
searched  and  its  inaccessibility,  and  others  from  a  want 
of  knowledge  of  serious  research. 

Every  genealogist  knows  that  wills  form  the  backbone 
of  his  subject  ;  that  no  pedigree  can  be  compiled  without 
them;  and  that  no  family  history  can  be  completed  with- 
out the  personal  touch  to  be  obtained  from  them  which 
raises  it  above  the  dryness  of  a  sixteenth-century  visitation 
pedigree.  The  serious  parochial  writer  cannot  perform 
his  work  without  having  searched  wills,  to  trace  the 
families  and  the  distribution  and  descent  of  lands  in  his 
parish,  and  to  acquaint  himself  with  the  numerous  refer- 
ences to  be  found  to  the  church,  and  perhaps  to  trace 
the  origin  of  articles  which  have  been  stowed  away  for 
centuries  in  the  parish  chest. 

There  is,  however,  another  use  for  wills  which  seems 
to  have  escaped  the  attention  of  most  antiquaries,  that 
is  the  possibility  of  identifying  portraits,  or  tracing  some 
relic,  with  an  historic  association  of  which  we  were 
ignorant,  or  about  which  we  had  but  a  vague  tradi- 
tion. For  instance,  a  reference  was  recently  found  in 
a  will  of  about  1790  to  Oliver  Cromwell's  coffee-pot, 
which  was  then  in  the  possession  of  the  testator;  this 
article  may  now  be  lying  covered  with  dirt  in  some  old 
outhouse,  the  owner  having  no  idea  of  its  associations 
and  value. 

As  we  have  already  said,  for  the  genealogist  will,  are 
indispensable,  nut  only  those  of  the  surname  in  which  he 
is  interested,  but  of  other  families  which  are  apparently 
unconnected.  It  can  be  safely  said  that  no  pedigree  of 
eight  or  nine  generations  can  show  the  marriages  of  all 
members  of  a  family,  but  most  of  the  missing  man  i  - 
could  be  found  it  a  thoroughly  exhaustive  search  of  wills 
was  made.  Generally  speaking,  .1  ><  -1  ttoi  mentions  all 
his  children,  and  in  cases  «  here  his  daughters  are  mat  ried 
he  will  almost  certainly  mention  the  names  of  their  hus- 
bands. Thus  it  we  arc  interested  in  the  family  of  one  of 
the  husbands,  we  get  the  name  and  parentagi  ol  hi     ■  fi 

and  othei  valuable  information ut  her  family,  which 

might   not  be  obtainable  elsewhere  j  or  we  n  ghl  prove 


her  to  be  an  heiress,  and  thus  be  able  to  add  another 
quartering  to  the  family  arms. 

.  It  is  not  only  relations  about  whom  we  get  these 
interesting  notes,  but  also  other  people  in  no  way  related 
to  the  testator,  as 'the  average  number  of  different  sur- 
names mentioned  in  a  will  is  about  a  dozen.  Many  a 
difficult  problem  in  identity  has  been  solved  by  a  signa- 
ture, and  there  are  generally  three  signatures  of  witnesses 
on  each  will,  as  well  as  that  of  the  testator. 

It  is  these  hidden  references  that  the  genealogist  wants, 
and  which  he  has  been  unable  to  get.  For  instance,  in 
the  will  of  Robert  Sowthey,  of  Woodford,  in  Wellington, 
co.  Somerset,  yeoman,  dated  1670,  we  find,  amongst 
other  references,  the  names  of  the  husbands  of  his  four 
daughters,  viz.  Anne,  wife  of  Anthony  Coiding;  Eleanor, 
wife  of  Thomas  Munday  ;  Alice,  wife  of  John  Coles;  and 

Mary,  wife  of  Thomas  Cording.  Having  got  the  name 
and  parentage  of  the  wife  of  Thomas  Munday,  we  might 
also  find  some  useful  information  about  his  family  in  the 
wills  of  the  Cordings  and  the  Coles. 

For  another  example  we  give  an  abstract  of  the  will  of 
Hester  Musgrave,  of  Wellington,  widow,  dated  1710.  who 
desires  to  be  buried  privately  without  pomp  at  Bristol, 
and  to  be  laid  near  her  father's  grave,  or  if  she  die  else- 
where, to  be  buried  at  Topsham,  co.  Devon.  She 
mentions  her  son,  Humphrey  Holway  ;  Cousins  Sarah  and 
May  Daniel,  of  Bristol,  and  their  sister,  Susannah  Daniel, 
to   whom   she   has    already   given    a    "golden    medall." 

[Catherine  Hellier,  of  Taunton,  widow.  Grace  G 
widow.  Ann-  Pring,  widow.  Bridget  V, invert,  my  kins- 
woman, and  her  husband,  of  the  Island  of  Guen 
and  their  four  children.  Robert  Worth,  of  London. 
Mary  Bowerman,  of  Topsham,  widow,  and  her  daughtei 
l'at.  Susanna  Trevella,  widow,  grand-daughter  of  my 
sister,   Mary  Stevens.     William.  Thomas,  and   Daniel, 

-1  William   Best,  and  his  late  wife  Hester,  ol   1 
sham,  and  their  daughtei  Elizabeth.     George  Cockrr:    , 
of  this  town,    sergemaker.      Joseph  Weekes,  of  Little 
Sampford,  tanner,  and   his  son  Joseph.      Hannah   (  ole, 
..1  Bristol.    William  Best,  junr. ,  my  silver  tankard,  which 
belonged  to  m)  son,  Humphrey  Holway,  having  his 
is  on  it.      Humphrey  Berry,  ol  Wellington,  1 
'   hi   111   Sarah   Edwards,    oi    London,    and   her    hu 
To  ....    Thesayer,   of  Grei     ■     h,  co.    Kent.   1 
daughter  of  my  brother-in-law,  Thomas  Hollaway,  late 

-I' ill.  marine] .     1-  ett.    James  Pai 

oi  Samford.     The  w  ■-.    Kennaway,  John 

and  Mary  Kennaway.     This  will  mentions  no 


101 


The    Connoisseur 


than  twenty-three  different  surnames,  and  gives  many 
valuable  clues  concerning  some  of  the  people  mentioned 
in  the  will  which  might  be  unobtainable  elsewhere.  For 
instance,  if  we  were  interested  in  the  family  of  Thomas 
Hollaway,  late  of  Greenwich,  and  had  no  idea  as  to 
where  he  came  from,  this  hidden  reference  would  im- 
mediately suggest  to  us  that  he  came  from  the  Wesl 
Country. 

For  a  short  example  of  the  topography  to  be  gleaned 
from  wills,  the  following  abstract  of  the  will  of  John 
Kawkener,  of  Waldron,  co.  Sussex,  will  suffice  :  —  "  The 
parcel  of  march  land  in  Mauxey  and  Pevensey,  parcel  of 
the  manor  of  Lampham,  called  the  Twelve  Acres,  to  the 
north  of  the  way  leading  from  Chercheaker  Bridge  to 
Ryene  Bridge ;  also  lands  in  Barwashe,  purchased  of 
Thomas  Greene,  and  John,  his  son,  called  Mottingsden. " 
By  the  aid  of  wills  these  very  lands  might  be  traced  for 
centuries. 

Even  those  who  ridicule  genealogical  research,  and 
perhaps  look  upon  it  as  a  form  of  snobbishness  (there  are 
still  some  who  regard  it  in  this  lights,  must  find  amuse- 
ment in  reading  some  old  wills.  In  that  of  Thomas 
Curtis,  dated  5  January,  1797,  there  is  an  entertaining 
little  passage,  in  which  he  requests  "  a  stone  to  be  erected 
to  the  memory  of  my  father  and  mother,  uncle  and  aunt 
Curtis,  and  self,  and  if  you  can  squese  in  Jack  do  ;  this  is 
poor  Tom's  will,  and  make  no  doubt  but  it  will  occasion 
,1  smile."  And  later,  "  A  guine  for  poor  Poll  Thare,  which 
has  been  my  Semstress  for  many  years.''  Another  good 
example  is  the  will  of  John  Hedges,  Esq.,  written  in 
verse,  and  which  was  duly  proved  in  the  Prerogative 
Court  of  Canterbury  in  July,  1737,  and  is  not  unique  :— 

This  5th  day  ot  May 
Being  Airy  and  Gay 
To  Hipp  not  enclind 
But  of  Vigorous  mind 
And  my   Body  in   Health 
lie  dispose  of  my  Wealth, 
And  of  all   I'm  to  leave 
On  this  side  of  the  Grave 
to  some  one  or  other 
I   think  to  my  Brother 
But   because   I  foresaw 
That  my  Brethren  in    Law 
If  1   did  not  take  Care 
Woud  come  in  for  a  Share 
Which   I  noe  ways  intended 


Till  their  Manners  were  mended 

(And  of  that  God  knows  there's  no  sign) 

I  do  therefore  Enjoyn 

And  do  strictly  command 

Witness  my  hand 

That  nought  I  have  got 

Be  brought  in  Hotch   Pott 

But   I  give  and  devise 

As  much  as  in  me  lyes 

To  the  Son  of  my   Mother 

Myn  own  Dear  Brother 

To  have  and  to  hold 

All   my  Silver  and  Gold 

As  the  Affectionate   Pledges 

Of  his  Brother  John    Hedges. 

As  we  have  pointed  out,  the  average  number  of  sur- 
names mentioned  in  a  will  is  about  a  dozen ;  therefore,  if 
there  are  one  hundred  wills  entered  in  the  calendars  for 
a  particular  family,  there  should  be  some  twelve  hundred 
of  these  hidden  references,  which  without  doubt  would 
clear  up  many  a  problem.  We  will  now  show  how  these 
notes  are  to  be  obtained,  and  the  least  expensive  way  of 
doing  it. 

It  is  intended  to  commence  by  searching  all  the  wills 
in  the  Prerogative  Court  of  Canterbury  for  the  year  [661, 
a  year  which  proved  to  be  a  turning-point  in  history,  and 
of  particular  interest  to  the  genealogist,  both  in  England 
and  America,  as  after  the  Restoration  many  who,  owing 
to  the  civil  wars,  had  left  their  native  parishes  to  seek 
their  fortunes  in  the  great  towns,  or  who  had  undertaken 
the  perils  of  a  two  months'  journey  across  the  Atlantic  to 
escape  from  the  religious  persecution  of  the  day,  now 
returned  to  the  homes  of  their  birth,  or,  failing  this, 
found  notice  in  the  wills  of  those  left  behind. 

On  the  co-operative  system,  which  we  adopted  some 
time  ago  with  excellent  results,  the  search  can  be  made 
at  a  purely  nominal  cost,  a  subscription  of  8/6  being 
sufficient  for  all  references  to  any  one  place  or  surname, 
however  spelt,  for  1 661. 

Should  this  search  prove  a  success,  it  is  hoped  to  go 
through  the  wills  for  other  years  in  the  same  way.  It  is, 
of  course,  unnecessary  to  point  out  that  such  a  search 
will  take  several  weeks  to  complete,  and  therefore  could 
not  be  made  specially  without  considerable  expense. 

Those  wishing  to  avail  themselves  of  this  offer  should 
send  in  their  names  at  once  to  the  Genealogical  Editor, 
The  Connoisseur,  35  to  39,  Maddox  Street,  London,  W. 


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THE    SHEPHERDESS. 
BY    JOHN     RAPHAEL    SMITH. 
AFTER    S.    WOODFORD. 


Al  Gl   ST. 


IQ15. 


War  and  British  Art 


BY   THE    EDITOR 


Optimistic  critics  are  looking  to  the  war 
for  a  great  renaissance  in  English  art,  an  idea  which 
probably  owes  its  genesis  to  a  sentence  in  one  of 
Mr.  George  Moore's  essays  on  Modern  Faulting.  He- 
writes:  "It  has  been  said  that  art  is  decay,  the  pearl 
in  the  oyster  ;  but  such  belief  seems  at  variance  with 
any  period  of  history.  The  Cheek  sculptors  came 
after  Salamis  and  Marathon  :  the  Italian  renaissani  e 
came  when  Italy  was  distracted  with  revolution  and 
was  divided  into  opposing  states.  .  .  .  Art  came 
upon  Holland  after  heroic  wars  in  which  the  Dutch- 
men vehemently  asserted  their  nationhood,  defending 
their  country  against  the  Spaniard,  even  to  the  point 
of  letting  in  the  sea  upon  the  invaders.  Art  came 
upon  England  when  England  was  most  adventurous, 
after  the  victories  of  Marlborough.  Art  came  upon 
France  after  the  great  revolution,  after  the  victories  of 
Marengo  and  Austerlitz,  after  the  burning  of  Moscow." 
This  theory  is  fascinating.  One  would  like  to 
ai  cept  it,  but  there  are  difficulties  in  the  way.  The 
exceptions  to  the  rule  are  so  numerous  that  they 
destroy  instead  of  prove  it.  Innumerable  wars  and 
great  national  movements  have  occurred  without  being 
followed  by  art,  and  art  has  originated  in  periods  of 
profound  stagnation.  Another  source  for  its  origin 
must  be  looked  for,  and  this  is  easily  found.  All  the 
periods  of  art,  which  Mr.  Moore  has  mentioned,  have 
I olb  iwed  on  wars  and  great  movements  of  nationhood. 
Hut  they  have  also  come  during  periods  of  greal 
national  prosperity;  and,  as  prosperity  appears  to  be 
the  invariable  forerunner  of  art,  we  must  look  on 
wealth  rather  than  on  war  as  the  source  of  art.  I.et  us 
recapitulate  some  of  Mr.  Moore's  instances,  and  add 

to  them   others,  to   see  how  they  bear  out  this  theory. 

'Ihe  Greek  sculptors  came  when  the  Athenians  ruled 
the  sea  and  enjoyed  a  practical  monopoly  of  maritime 
ti.ule  :  Italian  an  came  when  the  commerce  of  the 
East  flowed  through  the  .  ities  of  the  Peninsula  :  the 
early  art  of  Flanders  and  Germany  when  their  cities 
wen  most  rich  and  powerful.  On  the  instance  ol 
Holland  Mr.  Mo, .re  lays  spe<  i.d  emphasis,  yet  tins 
is  the  instance  which  most  completely  disproves  his 
theory.  It  is  true  thai  Rembrandt  and  the  Dutch 
school  came  into  being  after  the  heroic  resistance  "l 
the  '  ountry  to  Spam,  but  it  was  preceded  and  rivalled 
by   ih''   school  of   Flanders— with   Rubens  and   Van 


Dyck;  and  Flanders  had  meekly  accepted  the  Spanish 
yoke.  Km  Flanders  had  regained  its  lost  wealth 
when  art  came  upon  it  a  second  time  :  and  the  gn  al 
era  of  Dutch  painting  took  place  when  Holland  was 
mistress  of  the  seas  and  Amsterdam  tin  gn  atest  mart 
in  Europe.  The  dominion  and  the  trade  ol  tin 
passed  to  England,  and  in  their  train  followed  art. 

Art,  indeed,  is  like  a  house  of  cards,  built  up  slowly 
and  laboriously  during  the  prosperous  times  of  pea<  i  . 
and  blown  down  almost  instantly  by  the  rude  breath 
of  war  and  adversity.  The  proi  ess  has  bei  n  re] 
several  times  in  England.  Our  early  illuminations 
and  a  few  pictures  surviving,  dating  from  ;1  i  i 
of  Richard  II.,  show  that  in  the  fourteenth  century 
we  had  a  school  of  painting  worthy  of  comparison 
with  any  of  the  Continent.  The  Wars  of  the 
Roses  destroyed  it  and  almost  obliterated  its  trao 
Holbein  established  a  school  of  miniature  pain 
which,  nearly  submergi  cl  during  the  troubled  reigns  of 
Edward  VI.  and  Mary,  produced  some  notable  artists 
in  the  more  settled  times  that  followed.  Nicholas 
Hilliard,  the  two  Olivers,  John  Hoskins,  and  Samuel 
Cooper  form  a  succession  of  native-born  miniature 
painters  whose  art  will  hold  its  own  with  that  of  any 
country  or  period.  Cooper,  the  last  of  the  line,  was 
born  in  [609  :  he  survived  the  Civil  War,  and  lived 
until  1  672,  twelve  years  after  the  Restoration.  He  and 
his  brother  Alexander,  lor  wan:  ol  English  patronage, 
were  compelled  to  spend  much  of  their  time  abroad, 
and  left  behind  them  no  native-born  successors  worthy 
of  note.  The  Civil  War  had  extinguished  this 
flourishing  branch  of  English  art,  and  prevented  the 
birth  of  a  native  school  of  painting,  which,  under  the 
inspiration  of  Van  1  >yck,  had  seemed  likely  to  (  merge 
into  independent  being. 

The   time  when   art   came  to   England   was  during 
the    period    when   national   and    political    life    seemed 

iii"  '    utterly  stagnant  -a  stagnation  induced   b)   

leiitiiu  nt  and  advani  ing  material  prosperity.    Wa  : 
tin'  originator  of  this  state  of  affairs,   hai     been  in 

■     in  1 7 15,  and  again  l»  ■  ame  Prime  Mini  ti 
r  7  J  1.     He  held  ih'    1,111     of  1  illicc  until  1  742,     I  I 
these  \ ears  tin    ,  ounti y  si  1  med  to  slei  p, 
then  that  modern  English  painting  came  into 
Kin  Hi  r,    who    died    in     1723,    was    the    last    ol     thi 
foreigners  who  exercised  sup,  0     1   English  art. 


Vol.  XI. II.-  No.  n  - 


IM- 


The   Connoisseur 


In  all  the  il  i  ffere  n  i 
branches    Englishmen 
I"  i  ame  leaders  when 
before  they  had   only 
hem  followers.    These 
early  leaders  were  not 
greatmen;  John  Smith, 
themezzotintengrai  er, 
being  perhaps  the  most 
noteworthy,    for   he 
raised  h  i  s  art   to  a 
degn  r  of  perfection 
it  had   never    before 
attained,  and  a  1  most 
anticipated   the   tri- 
umphs of  the  later 
eighteenth-cent  ury 
masters.    Thornhill  in 
decorative   painting, 
Richardson,  and  after 
him   Hudson,   in   por- 
traiture,  and    Kent   in 
architecture,  were  only 
artists    of   the  second 
rank.     But  the  pecuni- 
ary success  and  pres- 
tige  gained    by    them 
beat  up  recruits  for  art   from 
Thus,  when   Joshua  Reynolds 
becoming  a  painter  or  a 
country  apothecary,  it  was 
the  example  of  Hudson — 
like  himself,  a  Devonshire 
man — that   weighted  the 
scales  in  favour  of  art. 

The  first  master-painter 
was  Hogarth.  He  would 
probably  have  remained  a 
jeweller's  engraver  had  not 
thriving  times  ensured  a 
demand  for  his  prints,  and 
afterwards  for  his  pictures. 
His  art  was  wholly  a  pro- 
duct of  the  prosperity  of 
the  middle  classes.  They 
bought  his  prints — biting 
satires  on  high  life,  which 
the  aristocracy  thought 
vulgar — and  commissioned 
most  of  his  portraits  and 
conversation  pieces.  He 
had  gained  his  reputation 
b e f o r e  the  war  of  the 
Austrian  .Succession,  which 


4P'       - 


I.ADY    JANE    '.ORE  BY     RICHARD    COSVl  U 

IN    THE    PIERPONT     MORGAN     COLLECTION 


all  over  the  country, 
was  hesitating  between 


CHARLES    II.  BY    SAMUEL    COOPER 

IN    THE    PIERPON1     MORGAN    COLLECTION 


broke  out  in  I  740.  It 
interrupted  English 
prosperity  tor  a  time— 
Hogarth   was  compel- 

led    to    sell    his    best 

pictures  by  auction  for 
ridiculous    prices    in 
1745    and   1750 — but 
freed   the  country   for 
ever  from   the   fear  of 
a  Jacobite  revolution. 
The  middle  of  the 
eighteenth  century  saw 
England  at  peace,  her 
power  firmly  establish- 
ed,   her    commerce 
fl  ourishing,  and  the 
golden   era  of  her  art 
commencing.    English 
painters,    instead   of 
atrophying  their  talents 
in  provincial  towns, 
flocked  to   the   metro- 
polis. Hudson, the  most 
fashionable     teacher 
as  w ell  as  the  most 
fashionable  portrait 
painter  of  his  time,  was  already  established  there,  as 
was  Hogarth  and  many  of  their  contemporaries;  but 
it  was  the  younger  genera- 
tion of  artists  who  were  to 
give   English  art  a  world- 
wide reputation.     Cotes,  a 
native  of  London,    was   in 
residence  there ;  Reynolds 
came  in   1752,    the  same 
year  as  Allan  Ramsay  ;  and 
Richard    Wilson    in    1755. 
They   had  been   preceded 
by   Benjamin    Wilson    and 
Gavin  Hamilton,  and  were 
followed  by  several  foreign- 
ers like  Zuccarelli  and 
Cipriani.        Gainsborough, 
having  set  up    in   London 
during  the  war,  and  failed, 
had  gone  to  Ipswich ;  Hoare 
was  working  at  Bath  ;  and 
Romney  in  1756  set  up  his 
easel  at  Kendal.     Thus  in 
the  first  decade  of  the  half- 
century  England's  greatest 
genre  painter,   her    three 
greatest  portrait  painters, 


11)') 


//  'ar  and  British  Art 


and  her  two  greatest  landscape  painters  before  Turner 
and  ('unstable,  were  all  in  full  work. 

Art  was  showing  itself  in  other  directions  than  in 


Wheildon  and   Wedgwood  entered  into   partnership 

m  1754;    Worcester  commenced  in  1751.    I 
in  1752,  and  Derby  and  Lowestoft  in  1 


.1  \\l      COl    NT1     - VRRINl  !  I 

FROM      INK     MEZZOTINT     BY     VALENTIN!      GREEN,      Mill;      SIR      '    \     Ml 


painting.  Chambers,  lately  returned  from  his  Eastern 
tour,  was  proving  himself  the  greatest  English  archi- 
tei  t  -.1111  e  Wren  ;  MacArdell  and  Houston  had  begun 
the  golden  period  of  English  mezzotint ;  <  'hippendale 
was  achieving  fame  as  a  furniture-maker,  and  the 
publication  of  his  Geritleman  and  Cabinet-maker's 
Director  in  1754  showed  that  there  was  a  large  public 
ready  to  buy  costly  household  furniture.  Many  of 
the  most  famous  pottery  and  pun  tlain  works  were 
being  founded.  Bow  and  Chel  ea  dale  from  before 
1750.     Aaron  Wood  set  up  lor  himself  m  this  year; 


In  the  last-nami  d  yeai  thi  Sevi  n  N  ears'  War  com- 
menced. Its  spoils  were  so  colossal  that  it  helped 
rather  than  hindered  the  trade  ol  the  country.  The 
peace  which  followed  saw  England  at  the  height  of 
her  manual  prosperity  and  political  greatness,  and  at 
her  artistic  zenith.     Only  Hogarth  was  missing  from 

ranks   ol    her    leading    oil-painters  ;    but  G 
borough  and  Romneyhad  come  to  town,  and  recruits 
like  Stubbs,  Copley,  Dance,  and  Zoffany  gave  bright 
promise  lor  the  future.     Miniature  panning  had  been 
revived,  and   flourished  as  it   never  had  doi 


197 


The    Connoisseur 


Nathaniel  Hone,  Cosway,  Smart,  Humphrey,  Shelley, 
and  Bone  were  the  leaders  of  a  group  to  whom  were 
presently  to  be  added  Engleheart  and  the  two  Plimers. 
Russell  and  Downmam  were  producing  their  beautiful 
portrait  drawings.  Hanks.  Nollekens,  and  Bacon  had 
appeared  in  sculpture:  the  brothers  Adam  in  archi- 
tecture and  furniture  design,  and  in  the  latter  mitier 
Hepplewhite,  Sheraton,  and  a  number  of  lesser  men. 
Perhaps  the  artistic  greatness  of  the  period  is  best 
reflected  in  the  engravings  of  the  time.  In  the  three 
methods  of  mezzotint  (with  the  exception  of  mezzo- 
tint landscape),  line,  and  stipple,  the  best  work  ever 
executed  in  England  was  produced,  and  produced 
with  such  prodigality  that  the  list  of  distinguished 
engravers  makes  a  lengthy  document.  The  Watsons, 
Green  and  J.  R.  Smith,  Strange  and  Woollett  and 
Bartolozzi,  were  among  the  best  in  their  respective 
metier :  but  there  were  others  who  were  practically 
equal  to  them. 

The  War  of  American  Independence  in  1774  did 
no  good  to  either  English  trade  or  English  art.  It 
lasted  for  eight  years,  and  we  lost  it.  But  eight 
years'  war  at  that  period  was  hardly  as  exhausting  as 
is  eight  months'  war  at  the  present  time.  The  full 
strength  of  the  country  was  not  pressed  into  the 
venture.  The  Navy,  indeed,  was  nearly  as  large  as 
we  could  make  it:  but  the  Army  was  so  small  that 
in  the  decisive  battle  of  the  war  only  5,000  English 
troops  were  engaged.  England  suffered  less  than  any 
of  the  other  countries  engaged,  and  though  doubtless 
many  of  the  lesser  artists  were  hard-pushed,  art  on 
the  whole  was  not  materially  affected.  Nevertheless, 
there  was  a  general  trend  in  the  direction  of  economy. 
The  Adam  brothers  were  substituting  stucco  for  stone 
in  house-building,  stamped  compo  for  wood-carving 
in  furniture,  and  stoneware  was  being  used  instead  of 
porcelain.  In  painting,  sculpture,  and  engraving  the 
golden  period  still  continued,  and  the  younger  genera- 
tion of  artists  presented  almost  as  great  names  as 
their  predecessors.  When  peace  was  made  in  1782, 
Beechey  and  Bewick  were  29,  Flaxman  27,  Raeburn 
26,  Blake  25,  Hoppner  23,  Opie  21,  William  Ward  20, 
and  Lawrence  and  James  Ward,  both  of  whom  even 
then  were  committed  to  an  artistic  career,  13.  The 
ten  years  of  peace  which  preceded  the  outbreak  of 
the  great  war  with  France  brought  with  them  flourish- 
ing trade,  more  especially  in  artistic  wares.  English 
prints,  pottery,  and  furniture  were  largely  exported 
to  the  Continent.  Then  came  the  French  Revolution 
and  the  opening  of  hostilities,  and  France,  our  best 
continental  market,  was  entirely  cut  off. 

The  fashionable  portrait  painters  probably  suffered 
little,  for  their  patrons,  the  landowners,  who  profited 
by  the  dearness  of  corn  and  beef  to  increase  then 


rents,  and  the  great  manufacturers,  who  were  supply- 
ing all  the  armies  of  Europe  with  munitions  of  war, 
were  increasing  in  wealth:  but  minor  painters,  en- 
gravers, and  others,  who  depended  upon  middle-class 
support,  suffered  greatly.  Unfortunately,  it  is  only  the 
lives  of  the  greater  artists  which  have  come  down  to 
us,  and  so  we  hardly  realise  the  privations  brought 
on  the  rank  and  file  by  the  war  :  yet  the  records  of 
the  rising  generation  of  well-known  painters  show  a 
pecuniary  state  of  affairs  far  worse  than  in  the  days 
of  their  predecessors.  Few  of  them  could  make  a 
living  by  the  sale  of  their  pictures.  Turner  supported 
himself  by  making  topographical  drawings  for  book- 
publishers  ;  Girtin  painted  a  panorama  :  Constable 
and  Hilton  were  partially  kept  by  their  fathers:  Heapy, 
while  exhibiting  at  the  Academy,  coloured  prints : 
Uwins  copied  engravings:  Stothard  illustrated  books: 
Cox,  Cotman,  Crome,  Copley  Fielding,  Cristall, 
Glover,  Sawrey  Gilpin,  and  Varley,  with  many  others, 
lived  by  giving  drawing  lessons.  Matters  were  even 
worse  among  the  engravers.  The  outbreak  of  war 
occurred  during  the  finest  and  most  prolific  period 
of  English  mezzotint.  Most  of  the  great  masters 
were  alive  and  producing  their  finest  work.  One  by 
one  the  older  men  succumbed  before  the  changed 
conditions.  The  two  most  renowned  mezzotinters 
of  the  time  were  probably  Valentine  Green  and  J.  R. 
Smith  :  both  published  and  sold  prints  as  well  as 
engraved  them,  and  both  were  men  of  substance. 
The  war  caught  Green  in  the  midst  of  his  great 
venture  of  reproducing  the  pictures  at  the  Dusseldorf 
Gallery.  The  war  ruined  him.  After  a  few  years  of 
hopeless  struggling,  he  was  saved  from  want  by  being 
appointed  keeper  of  the  British  Institution.  Smith 
carried  on  for  a  few  years,  and  then  relinquished  both 
engraving  and  publishing  to  retire  to  the  country. 
Dickinson  went  to  Paris.  Hodges  to  Holland:  while 
Dean,  Hudson,  Grozer,  Keating.  James  Ward,  George 
1  >awe,  Earlom,  and  Young,  all  gave  up  engraving, 
the  last-named  accepting  the  keepership  of  the  British 
Institution  rendered  vacant  by  Green's  death  in  1S13. 
Sculpture,  architecture,  ceramic  art,  and  cabinet- 
making — all  the  graphic  and  applied  arts,  indeed — 
withered  under  the  blast  of  the  war.  Sculpture  suffered 
the  least,  for  it  had  attained  no  flourishing  growth, 
and  so  its  decline  was  the  less  marked.  Of  the 
pseudo-classical  stucco  architecture  which  appeared 
after  the  war,  little  good  can  be  said,  except  that  it 
was  cheap  ;  and  cheapness  was  also  the  characteristic 
of  early  nineteenth-century  furniture  and  pottery.  The 
artistic  element  was  omitted.  In  the  great  periods  of 
English  furniture,  architects  and  sculptors  like  Wren. 
Gibbon,  Kent.  Chambers,  and  the  Adams  brothers 
had    elevated    the    standard    of   taste    by    supplying 


7l|S 


War   and   British  Art 


makers  with  designs:  and  it  may  be  surmised  that  it 
was  largely  through  their  instrumentality  that  the 
most  beautiful  of  the  types  were  evolved.  The  war 
irniture  design  in  the  hands  of  the  cabinet-makers, 
and  its  decline  at  once  commenced.  The  Empire 
which  came  into  vogue  in  1703,  was  a  clumsy 


and  the  new   1  were 

either  oi  foreign  origin  or  worthless.      Raeburn,  amid 
the  conservative  associations  of  a  provini  ia 
continued  the  traditions  of  British  portraiture;    Con- 
stable, Crome,  Cotman,  and  the  ,vater- 
colour   painters   continued   the   tradition  of  Ei 


CHIPPENDALE      \I'M<  II All 


imitation  of  the  French,  and  after  the  wane  ol  the 
"Empire,"  furniture  cea  es  to  have  any  interest  to  the 

colli  1  tor.       The  decline  of  furniture  was  only  a  little 

more  marked  than  that  of  porcelain  and  pottery. 
Many  well-known  artists  like  Thornhill,  Roubillac, 
Moser,  Bacon,  Flaxman,  Stubbs,  and  Bone,  had 
worked  tor  potters  in  the  eighteenth  centur)  ;    theii 

.1 !;'  igel  I  '  '    "l   an  interior  type,  while 

many  of  the  most  celebrated  factories  were  eithei 
closed  Mown  or  passed  into  other  hand 

What    has    been    said    is    sir  0    show  thai   the 

war  of  the   Revolution  and  thi     Empire,  more   pro 
longed   and   exhausting   than   any   in  which    En 
had  bi  tged  --mce  the  hundred  years' struggle 

with  Frani  id  of  giving  a  quickening  impulse 

to  British  art,  nearly  destroyed  it.    The  old  traditions 
interrupted,  and  in  most  cases  aim 


IN      Mil        OAN]       M 


landscape;  and  Turner,  during  the  time  he  was  not 
following  the  will-o'-the-wisp  of  French  seventeenth- 
1  entury  classicalism,  developed  them  to  a  still  fu 

e.    But  thesea 
and  the  contemporary  neglect  ol  ork  showed 

that  they  wi  re  oul  ol  touch  with  their  times.     V 
tint  and  stippli    1  the  mixed  style — a 

bastard  combination  ol   nearly  ever)   method  of  en- 

ngonthi   same  plate — and  David  Lucas,  tin 
great   follower  ol    the   eighteenth    centur)    mezzotint 
school,  died  in  the  workhi    1  Sculpture  1 

into  the  polishi  d    insipidities  ol    Gibson  and 
and  the  ind  superficial  work  ol   I  hai 

miniature   painting   into   highly   finished    prettiness : 

1  iousness. 
A  hundred  years  has  elapsed  sim  e  the  1 
finishi  d,  am  no  w  de  up 


[99 


The    Connoisseur 


the  leeway  lost  to  English  art  through  its  occurrence. 
Sculpture  is  certainly  improved  :  architecture,  if  it 
has  not  bettered  the  best  things  of  the  late  Georgian 
era,  is  far  more  various  ;  in  painting  there  is  generally 
a  higher  standard  of  accomplishment,  especially  in 
draughtsmanship,  and  a  far  greater  output  of  good 
work  ;  yet  portraiture  has  not  attained  its  former 
standard,  and  even  in  landscape,  genre,  and  military 
pictures  the  work  of  Gainsborough,  Wilson,  Hogarth, 
Morland,   and  Copley  make  one   hesitate   to   award 


has  been  built  up  during  a  hundred  years  of  com- 
parative peace  ;  for  though  war  has  occurred,  no 
echoes  of  the  actual  fighting  have  penetrated  across 
the  sea  to  England.  Now,  as  in  the  great  French 
war,  the  struggle  is  raging  at  our  gates  :  it  is  strain- 
ing the  resources  of  the  country  to  the  utmost,  and 
personal  as  well  as  national  economy  is  urgently 
demanded.  Unfortunately,  one  of  the  economies 
which  imposes  the  least  self-denial  on  the  majority  is 
the  cessation  of  the  purchase  of  objects  of  art.     But 


l;  \i;i,     CHELSEA     GROUP! 


AT     THE     LONDON     MUSEUM 


unequivocal  superiority  to  the  moderns.  In  engraving 
the  balance  is  against  us  ;  line  engraving  is  extinct, 
stipple  practically,  and  modern  mezzotint  is  neither 
so  great  in  quantity  nor  so  fine  in  quality  as  the 
eighteenth-century  work.  Onlv  in  etching  have  we 
greatly  advanced.  In  ceramic  art,  cabinet-making, 
and  the  work  of  the  silversmith,  we  have  got  rid  of 
much  of  the  bad  taste  of  the  Victorian  era,  and  in 
some  directions  have  gone  beyond  the  eighteenth- 
century  makers,  yet  on  the  whole  the  balance  of 
artistry  is  in  their  favour. 

Taking  one  thing  with  another,  however,  the  artistic 
position  occupied  by  England  at  the  beginning  of 
the  present  war  is  analogous  to  that  held  by  her  at 
the  end  of  the  eighteenth  century.  Her  art  com- 
mands profound  respect  abroad  as  well  as  at  home, 
and  in  several  departments  of  it — engraving,  domestic 
architecture,  and  the  production  of  furniture  and 
ceramic  ware — she  leads    the  world.     This  position 


[PHOTO    W.    E.    GRAY 

this,  far  from  conserving  the  resources  of  the  country, 
tends  in  the  long  run  only  to  diminish  them.  The 
creation  and  the  conservation  of  the  beautiful  together 
form  a  vast  industry  on  which  both  the  present  and 
future  commercial  success  of  the  nation  largely  hinges. 
The  artists  who  create  art,  and  the  dealers  and  col- 
lectors who  accumulate  the  treasures  of  the  past, 
originate  the  artistic  taste  which  governs  the  design 
of  textiles,  pottery  and  porcelain,  metal-work,  and 
the  thousand  and  one  wares  which  are  not  merely 
mechanical  productions.  Weaken  and  vitiate  this 
source  and  the  future  of  half  the  industries  in  the 
country  is  jeopardised.  Something  like  this  actually 
occurred  during  the  French  war,  and  art  to  a  great 
extent  became  commercialised  :  its  destinies  fell  from 
the  control  of  the  people  who  practised  and  under- 
stood it  into  the  hands  of  people  who  were  more 
interested  in  making  it  a  pecuniary  success.  One  can 
see  this  exemplified  in  the  transfer  of  publishing  from 


War   and   British  Art 


the  hands  of  engravers  to  individuals  who  had  no 
technical  knowledge  of  the  art.  The  brothers  Boy- 
dell,  the  brothers  Ward.  Green,  Smith,  and  many 
other  of  the  leading  eighteenth-century  print-sellers, 
were  all  practical  engravers.  The  close  of  the  war 
saw  their  businesses  either  extinct  or  belonging  if 
laymen.  The  result  was  a  general  decline  in  the  an 
of  engraving.  A  similar  decline  may  be  traced  in 
almost  every  other  branch  of  art  and  artistic  industry. 

Tile  taste  of  the  country,  which  reached  its  nadir 
in  the  mid- Victorian  epoch,  has  gradually  been  re- 
stored to  its  former  level,  with  immense  benefit  to  the 
trade  of  the  country. 

Now,  unless  we  are  careful,  there  is  every  danger 
of  another  decline  in  English  taste.  The  people 
who  have  devoted  their  lives  to  the  pursuit  and  stud) 
of  art  must  receive  adequate  support,  or  else,  as  in 
the  case  of  their  predecessors,  their  efforts  will  be 
brought  to  a  standstill,   and,   when  the  war  is  over,  a 


new  generation  arise  ignorant  of  artistic  tradition  and 
deficient  in  artistic  knowledge. 

In  some  respects  the  situation  is  far  more  perilous 
than  before,  because, though  the  countrywas  exhausted 
in  the  Napoleonic  struggle,  it  was  less  affected  than 
any  other  of  tin  great  nations.     At  thi  time 

the  wealthiest  country  in  the  world  is  not  taking  part 
in  the  struggle  at  all,  and  unless  the  British  public 
ran  give  support  to  art  dealers,  it  seems  likely  that  a 
large  portion  of  tire  treasures  thej  have  ai  cumulated 
will  be  transferred  to  the  other  side  of  the  Atlantic. 

It  must  be  remembered  that  money  spent  in  British 
art  is  not  money  lost  to  the  country,  but  remains  h<  n 
to  the  benefit  of  the  whole  nation.      Artists  and  art 
dealers  have  more  than  borne  their  share  in  tin 
struggle,  and  many  have  ahead)  given  their  li\' 
their  country,  and  it  is  the  country's  duty  and  lor  the 
country's  profit  to  help  those  who  remain  in  the  task 
i if  upholding  the  cause  of  English  culture. 


THE    INTERIOR  01 


Mini 


20I 


,a  »ai  »ai  » ,i  i, it  aim  ,i  »;>i  »;.i  »j.i  »,.i»,^.i  raw  mnyi sxnxtxaji'nA  fsija 


V,v.'rfc^fc>'ffc\YfcVf»-:rk^>Yffc^ffcVf\Yffc.'fi^UYf^f^fV'f\^ffcvifcJf%'f\'ivJt»'f»,r\  i 


'mmmw^^^^^^m^^^^^ 


NO.    [.—MANTELPIECE   OF   CARVED   PINE,    FROM      \     HOUSE     IN     CAREY     STREET,     LINCOLN'S    INN     FIELDS, 
OF      I1IE     EARLY     AND     MIDDLE     EIGHTEENTH     CENTURY,     RIVING     THE    TYPICAL     DECORATION     OF    THE 

FIREPLAI  E 


202 


The  Years  of  Mahogany      Part  XII.      The  Director  Chippendale 
(continued),  being  "  The  Gothick  Taste'7        By  Haldane  Macfall 

The  next  type  of  chair  in  the  Director  of 


1754  is  contained  in  plates  xxi.  and  xxii..  under 
"Gothick  chairs."  Of  the  chairs  in  plate  xxi.,  we 
notice  that  the  backs  are  all  '■  tilled  in,"  that  is  to  say. 
that  the  design  goes  right 
over  the  whole  back,  no 
longer  being  contained  in 
the  vase-shaped  outline. 
They  are  very  ornate, 
being  much  carved.  The 
"straight  "  (or  "square  ") 
leg  1-  not  upi  hi  them  all. 
Whilst  in  plate  xxii.  the 
three  chairs,  which  are 
repeated,  by  the  way,  in 
the  third  edition,  are  of 
mixed  type,  one  being  dis- 
tinctly Chinese-(  lothick. 
( )l  this  more  anon.  But 
co m pari  ng  these-  two 
plates  « ith  the  two  plati  -• 
in  the  third  edition,  it  is 
evident  that  Chippendale 
only  considered  his  chairs 
"<  lothick"  when  th.'  back 
was  filled  in  with  tin  di 
sign.  The  same  remark 
applies  to  his  •■  ( Ihinese  " 
.  as  we  shall  see ; 
but  we  shall  also     -  <    thai 

once  ( !hippendale  got  the 

"  ( lothick  "  intention  into 


NO.  II.        >IAHOGAN> 

INC.    I  HE    F1LLED-IN 

IIGHT    LER,    AND  I  MAR 

ITMENT   Ol      .  .111.1,     \k\I-,    17; 

[.-ROM  HIRE 


his  eye,  he  soon  applied  it  to  his  "vase-shaped" 
splits  also,  whether  it  was  that  the  design  took  hold 
of  his  mind  and  pushed  his  Fore-Director  decorations 
out   of  his  favour,   or  that   he  did   it   of  delibi 

intention  as  a  si  irt  of  com- 
promise. At  the  same 
time,  the  decorati  .1  vasi  ■ 
splat  of  his  earlier  work, 
and  the  "  ( lothick  "  and 
the  "  ( Ihinese  "  taste  ol 
his  later  fancy,  became 
so  jumbled  in  his  lust 
for  "  vari  et  y,"  which  he 
vaunts  again  and  again, 
that  he  evolved  a  mixture 
which,  strange  to  say,  bred 
an  uncommonly  beautiful 
design  in  his  splats,  .is 
ti  1  « lin  h  it  is  sometimes 
difficult  to  decide  what 
is  "G  ot  In  ck,"  what  is 
••(  'hinese,"  and  what  just 
pure  <  Ihippendale  1 

I  think  we  would  do 
well  not  to  lay  too  much 
stress  on  the  fact  that  the 

••(lothick  "    goes    before 

"Chinese  "  in   the 

order  of  Chippi  1 

book.     1  find  it  difficult 

are   any  sort   ol 

sound    evidence   that   he 


201 


The   Connoisseur 


AAAAAA! 


No.   III.       MAI  I.  IG  \NY  G.OTHII  K  CHIPPENDALE  CHAIR,  Willi 
FILLEI>-I\    BACK,    AND    THE    PECULIAR    ARMS,    1750-60 
FROM    TISSINGTOJJ    HAIL,    DERBYSHIRE 

aimed  at  what  he  and  his  age  took  to  be  "Gothick" 
before  he  was  conquered  by  the  "Chinese"  taste.  1 
fancy  the  order  in  the  book  has  been  responsible  for 
this  dogma.  But  one  or  the  other  had  to  go  first  : 
and  I  see  no  reason  whatever  for  thinking  that  it  was 
anything  but  a  toss-up.  I  should  say,  as  a  matter  <>f 
fact,  that  the  two  vogues  came  in  much  about  the 
same  time.  And  that  this  is  most  likely  seems  to  me 
to  be  proved  by  the  fact  that  the  "straight  square 
I'  l  (the  must  marked  part  of  the  changes  in  the 
Director  from  the  work  of  the  decades  that  went 
beforci  is  essentially  "Chinese,"  and  has  no  roots  in 
the  "Gothick"  taste  ;  yet  we  find  him  applying  it  to 
the  "  Gothick  "  chairs  from  the  beginning.  Indeed, 
in  plate  xxii.  the  two  types  are  distinctly  mixed,  and 
it  would  be  difficult  to  say  whether  the  third  chair — 
which,  by  the  way.  in  the  third  edition  he  repeats  in 
another  plate  of  "Gothick  "  chairs — is  "Gothick  or 
"Chinese,"  or  either. 

It  is  quite  true  that  books  were  published  on  the 
"Gothick  "  taste  some  years  before  those  which  were 
concerned  with  the  "Chinese'  taste;  but  even  here 
we  have  no  very  great  guide,  since  Chippendale  and 
all  the  other  cabinet-makers  seem  to  have  used  Indian 
and  Chines,  designs  without  any  distinction — prob- 
ably thought  them  the  same  thing — and  labelled  them 


--.- 


lUUxAA/v 


No.   IV.  —  MAHOGANY  GOTHICK  CHIPPENDALE  CHAIR, 
WITH    FILLED-IN    RACK,     1750-60 
FROM   TISSINGTON    HAI-L,    DERBYSHIRE 

as  Chinese  without  hesitation.  Nor  did  their  concept 
of  the  "Gothick  "  go  much  deeper. 

However,  let  us  see  what  Chippendale  meant  by 
tin  "Gothick"  taste,  just  noting  that  the  "straight 
square  leg"  was  not  particularly  "Gothick,"  but 
"Chinese"  (but  we  will  discuss  that  detail  more  fully 
when  we  come  to  the  "  Chinese  "  taste),  and  remem- 
bering that  in  any  case  both  the  "Gothick"  and  the 
"Chinese"  were  of  the  Dirertordeca.de  of  1750-60, 
and  that  the  question  as  to  which  came  fust  is  some- 
what academic,  and  the  controversy  about  it  wholly 
unprofitable  and  its  deductions  certainly  very  uncon- 
vincing. 

By  1750  evidently  a  Gothic  vogue  was  in  the  air. 
We  know  that  Horace  Walpole  was  smitten  by  the 
bastard  business,  and  he  stood  for  extreme  culture — 
what  is  to-day  called  the  "  high-brow  school."  Horace 
Walpole  seems  to  have  been  a  sort  of  authority  mi 
all  the  arts.  He  wrote  on  painting,  on  architecture, 
on  taste.  There  is  a  certain  type  of  eminent  person, 
the  "superior  person,"  as  our  slang  has  it  to-day,  who 
in  every  generation,  for  some  God-forsaken  reason, 
seems  to  catch  the  public  eye  and  is  accepted  for 
scant  reason  as  a  demi-god  and  arbiter  of  taste.  He 
personifies  the  Philistinism  of  an  age  in  a  handsome 
swagger;  and  the  Philistines,  being   in  the  majority. 


204 


GEORGIANA    COUNTESS    SPENCER    AND    HER    DAUGHTER    LADY    GEORGIANA, 

AFTERWARDS    DUCHESS    OF    DEVONSHIRE 

In  the  collection  of  His  Grace  the  Duke  oj  Devonshire,  at  Chats th 


The    )  'cars   of 


Mahogany 


No.   V. — GOTHICK    CHAIR,    WITH    FILLED-IN    BACK,    MADE 
BY   A   CONTEMPORARY   OF   CHIPPENDALE,    PROBABLY 
MAINWARING,    1750-60 
BY    KINli    PERMISSION    OF   I.   YOUNG    HUNTEI  . 


love  to  set  up  their  demi-god  fn  mi  amongst  themselves. 
It  justifies  them  to  themselves.     And  their  demi-god 
is  avenged  by  the  gods,  for  his  name  stands  to  the 
next    age   as    the    elaborate    bore    of   a   dead   time. 
Horace  Walpole  was  one  of  the  most  brilliant  of  these 
curious  freaks.    They  always  need  high  social  posiri<  >n, 
and  Horace  was  the  star  in  the  high  social  firman 
Strawberry   Hill   probably   did   more   harm    to  archi- 
tecture than  the  work  of  any  man's  hand.      It  • 
a  vogue  in  bastard  Gothic  that  dominated  the  years 
almost  into  our  own  generation.     But  his  sin  dai 
the  reputation  of  a  man  of  really  very  fine  parts  mosl 
unduly,  though  some  of  the  damnation  was  certainly 
■.  ed. 

Chippendale  happened  to  be  a  man  ol  ran 
,m<l  by  and  through  that  immortal  flame  he  purified 
the  hideous   thing  until, 

he  brought  forth  out  of  it  some  perfei  I  designs  which 
add  to  his  stature  as  a  gn  .it  craftsman. 

Chippendale,  as  we  have  seen,  was  quick  to  leap 
at  a  vogue;  he  leaped  at  th  "Gothick"and 

•■(  'liinese  "  taste  as  needle  a 

Now,   what  1     ippendale's  idea  o!   the 

Gothic  ?     To  think    of  tl      Gothii 
significance  in  an  age  whii  h  buill  foi  itsi  H  in  a  style 


No.    VI.     -WALN1    I    CHAIR    O]     CHIPPENDALE'S 
"  DIRECTOR  :'    DEI    \ni  .    -11  i\\  !NG     I  III. 

PINGS    I  IKING    1  IN    DIS1  IN'    I    GO!  HICK 
IN  TEN  I  ION,     I-50    60 

so  suited  to  itself  buildings  like  the  Horse  Guards 
and  Dover  House,  in  Whitehall,  is  of  course  im- 
possible. But  the  Walpole-G  vas  impossible. 
What  exactly  was  Chippendale's  idea  of  the  "Gothick 
is  not  always  easy  to  discover.  Wren  had  had  a  shot 
at  the  Gothic.  Batty  Langley  had  no  small  share  in 
starting  a  vogue  of  bastard  "Gothick"  architectun 
about  1747  with  his  volume  entitled  Got/tick  Arc/n 
tecture  Improved  by  Rules  and  Proportions.    By  wbom- 

•    started,    the    tracer)    of    Gothic   windows,   and 
perhaps  ol    Gothic  chests,  with   the  pointed  arch,  the 

tatrefoil,  the  chamfi  bevelled) 

moulding,  the  triple  column,  and  such -like  details, 
had  come  to  stand  for   "Gothick." 

I  lowever.   tile  pseudo-Coil:  1  Ight    th< 

1    the  town  to 
and  "Gothick"  it  had  to  be.     So  <  hippenda 
the  naval   folk  say  — "n  -  ven  whilst 

d  .n  the  vogue  of  Walpole-Gothick,  why  the 
legs  should  have  been  straight  and 
the  "Gothick  ly  Chippendale  could  say,  and 

obabl)  was  not  quite  sure — at  any  rate,  1; 
ay.     But  it  wai  i  s,  the 

one  arising  out  of  the  other :    that  the   "  I 

ming  in  li  he  "( rothick,"  it   not 


VV/r   Connoisseur 


i  unning  it  neck  to 
neck,  was  bring- 
ing in  the  straighi 
leg;  the  ot he r 
due  in  the  fact 
that  it  would 
make  for  a  wider 
circle  of  clients 
if  Chippendal  e 
catered  t  <  >  a 
tendency  for  sim- 
plicity in  the  part 
of  the  chair  which 
w  as  not  in  u  c  h 
seen,  such  as  the 
legs,  in  order  to 
enhance  the 
i  laborate  "  ( loth- 
ick  "  of  the  back 
and  upper  part  of 
the  seat  that  did 
show. 

This  "Gothick" 

took  on  very 
elaborate  forms, 
which  ran  on  one 
side  towards  the 
Chippendale 
strappings  and 
slats  so  pierced 
as  to  be  suggestive 
of  cathedral  win- 
dows, and  on  the 
other  side  into 
the  "Chinese" 
taste,  as  we  shall 
presently  see. 
Some  of  it  was  an 
abomination  even 
in  Chippendale's  hands,  which  clearly  had  no  wide 
vogue,  since  the  specimens  are  grown  rare  —  fortu- 
nately. But  one  thing  is  worth  noting  :  in  the  Director 
the  "Gothick"  designs,  in  spite  of  the  straight  leg, 
have  no  stretchers,  whilst  all  other  straight  legs  are 
stretchered. 

The  "pure  Gothick"  evidently  did  not  "catch 
on" — the  specimens  are  very  tare.  But  there  was 
one  feature  of  the  "  pure  Gothick  "  which  Chippendale 
retained  and  used  freely  in  these  and  after  years — the 
"cluster-column"  leg.  When  one  comes  upon  the 
cluster-column  leg,  whether  on  chair  or  table  or  bed, 
one  may  be  certain  that  the  piece  is  of  the  Director 
years. 

As  I  have  said,  the  so-called  Chippendale  "fretted" 


No.  VII. — MAHOGANY    CHIPPENDALE    I   HAIR    OF    ABOUT    1750,    IN 
WHICH    THE  STRAPPINGS    INSWER     fO    \    DISTINCT    GOTHICK    INTENTION 


chairs  range  over 
his  Chinese  and 
<  lothic  taste,  as 
well  as  over  his 
own  "vase-splats," 
and  through  the 
whole  of  his  career 
—  so  that  the 
phrase  helps  us 
little.  The"square; 
leg,"  the  square 
straight  leg,  is 
quite  another 
affair— it  dates  the 
chair  at  once.  It 
was  cheaper  than 
the  cabriole  to 
make  ;  it  left  the 
showy  parts  of  the 
chair  where  they 
were  most  seen  ; 
it  brought  good 
furniture  within 
the  reach  of  a  wide 
public;  and  it 
caught  the  town. 
It  seems  to  have 
overwhelmed  al- 
most at  once  the 
cabriole  -  legged 
designs  except  for 
the  houses  of 
the  wealthy,  and 
e  v  e  n  h  e  r  e  w  e 
find  some  of  the 
finest  specimens 
in  great  houses 
111  a  d  e  with  the 
straight  leg. 
The  "(lothick,"  in  its  "pure"  form,  Chippendale 
soon  found  hopeless;  but  with  his  wonted  skill  he 
was  soon  applying  what  "Gothick"  was  in  him — the 
best  of  it — to  the  splat  of  his  ordinary  chair,  whether 
cabriole-legged  and  claw  -  and  -  ball  footed,  for  his 
wealthier  patrons,  or  "straight  square  legged"  for  the 
world  and  his  wile  in  general.  And  we  shall  notice 
the  accent  of  his  "  Gothick  "  taste  throughout  the 
rest  of  his  career  within  the  limits  of  this  vase-shaped 
splat — difficult  as  it  is  at  times  to  separate  it  from 
his  "strappings"  of  the  Fore-Director  years  or  from 
his  "Chinese"  intention,  but  this  difficulty  should 
not  discourage  us,  since  Chippendale  himself  was  not 
precisely  sure  where  his  "Chinese"  and  "Gothick" 
taste  usurped  each  other's  boundaries,  as  he  proves 


208 


The    Years    of  Mahogany 


NO.    VIII.—  u  \1  M    I    I  HIPPENDALE    I  HAIR,    THE 

SPLAT    DEFINITELY   GOTHICK,    1750-60 

IN    THE    POSSESSION    OF    THE   STATIONERS'   COMPANY 


No.    IX. — ARMCHAIR  OF    1111     SAME,    1750-60 
IN    THE    POSSESSION    0]      Mil-    STATIONERS' 
1  1  IMPANY 


by  putting  markedly  Chinese  decoration  into  his 
"Gothick"  plates.  And,  as  a  matter  of  fact,  neither 
the  Gothic  nor  his  Chinese  were  very  clear  to  his 
mind — they  were  vague  forms  which  he  translated 
into  designs  which  we  had  best  always  remembi  r  as 
"Chippendale  Gothick  ''  and  "Chippendale  Chin 

It  is  enough  for  us — and  all  its  value  lies  therein — 
that  the  "Gothick"  intention,  so  far  as  Chippendale 
understood  Gothic,  did  give  to  Chippendale  certain 
forms  and  lines  for  the  splats  of  his  chairs,  during 
these  years,  that  were  very  beautiful.  The  somi  what 
incoherent  arrangements  of  his  "strappings"  and 
curves  in  the  splats  oi  tin-  Fort  Director  years,  with 
their  disjointed  meetings  and  vague  design,  gave  way 
to  .1  sort  of  architectural  cohesion  which  made  of  the 
splats  a  unity  and  in  i  i  arvi  d  with  .1  perfection  never 
surpassed  in  the  decoration  of  furniture.  And  the 
student  may  be  sure  that  when  a  Chippendale  1  ha 
particularly  in  its  splat,  shows  this  coherent  di 
whether  it  obviously  suggests  the  tracery  ol  ;i  Gothii 
window,  or  whether  it  be  a  consistent  upward  di 
from    the   se.it    to   thi     1    I  -v   top-rail,  that   that 

chair  is  of  Chippendali   -  Director  '-.its.     It  plao 
definite  a   barm-   between  work  ol   this  decade  and 
work  oi"  tip    Fori   Din  .  which  pri 


that  once  our  attention  is  drawn  to  it,  we  cannot  help 
but  realise  it.  When,  in  addition,  we  get  the  "squan 
leg,  the  date  is  obvious.  But  we  must  remember 
that  the  square  leg  also  shows  that  th<  /  D  rector 
splat  was  still  used  by  Chippendale  for  chairs  of  the 
Director  decade. 

It  should  be  noticed  that  the  ■•bracket"  at  the 
angle  where  the  square  leg  joins  the  underside  of  the 
seat-rail  (which  "angle-bracket  "  used  to  In  the  sole 
grounds  tor  the  dealers  in  the  years  gone  by  for 
labelling  the  chail  as  a  "  Mainwai  ing  "  chair)  was 
used    by    Chippendali     occasionally   on    his    straighl- 

;ged  chairs  in  the  "( lothick  "  taste  (as  well  as  ofti  n 
used  by  him  in  the"  ( 'hint  se  "  taste  1  :  and  tin  Director 
shows  it  in  one  or  two  of  his  essi  ntial  designs  for  the 

\  .  a  matter  <  0  tell  a  <  Ihippendale  from  a 

Mainwaring — indeed,  from  the  work  ol  several  ma 

1  tune  —is  rather  a  matter  ol"  artistic  instinct  than 
an  affair  in  which  on.  can  lay  down  very  definite 
laws;  and  a  good  deal  of  the  demi-goddish  authority 
vaunl  ome  writers  on  furniture  is  sheer  guess- 

I  titi        0  1 1  finitely  "  stylish " 

about    everything   that   Chip]  did    that    marks 

his  domination.      B  ;ards  many  of  the  chairs 


:oo. 


The   Connoisseur 


NO.  X. — THE  CHARTERHOUSE  CHIPPENDALE 
l  HAIR,  THE  GOTHICK  STILL  IMPLICIT  IN  THE 
SPLAT,  BUI  ['HE  TRACERY  MORE  CARVED, 
1750-60  FROM    THE   CHARTERHOUSE 

which  I  have  called  Chippendale  in  the.se  articles,  I 
wish  to  say  here  and  now  that  I  use  the  title  as  mean- 
ing that  Chippendale's  designs  prompted  the  making 
of  them  rather  than  that  they  were  all  actually  made 
in  his  workshops.  Where  other  makers  of  the  period 
tried  "creations,''  as  the  dressmaker's  slang  has  it, 
their  work  is  so  much  poorer  in  concept  and  design 
that  it  is  not  worth  while  considering  it  ;  but  where 
a  really  good  maker  produces  a  fine  design  that  is 
worthy  to  rank  beside  Chippendale's,  I  will  at  some 
early  date  try  to  do  justice  to  him,  if  his  design  be 
definitely  personal.  But  every  town  of  any  importance 
had  its  local  cabinet-maker — and  the  chair,  the  cup- 
board, the  table,  and  the  sideboard  would  be  his 
chief  efforts  ;  above  all  the  chair — we  can  therefore 
but  call  the  work  of  such  men  "  country  Chippendale  " 
or  ''Irish  Chippendale  "  where  Chippendale's  plates 
and  books  were  the  plans  upon  which  such  designs 
were  wrought. 

As  regards  the  "  stitched-up,"  or,  as  it  is  sometimes 
also  called,  the  "nailed''  upholstered  seat,  and  the 
"drop-in"  seat,  I'nth  forms  persisted,  evidently  in 
answer  to  the  taste  of  the  patron,  during  this  decade. 

The  seats  which  are  hollowed  out  from  side  to 
side,  dropping  in  the  centre  from  the  level  of  the 
straight  sides,  or,  as  they  are  sometimes  called,  the 


X.'.    XI. —  I1IE   CHARTERHOUSE    CHIPPENDALE 

ARMCHAIR    OF    THE    SAME    -II, 

1750-00 

FROM    THE   CHARTERHOUSE 

"scooped"  seats,  are  generally  said  by  writers  on 
furniture  to  have  been  of  the  fashion  from  1755  to 
1770:  and  though  I  find  Cescinsky,  who  is  the  finest 
authority  on  our  English  furniture  of  this  age,  inclined 
to  accept  this  dictum,  I  am  bound  to  say  that  I  have 
never  yet  seen  the  least  proof  of  a  convincing  kind  to 
show  that  they  were  made  on  chairs  of  this  Director 
decade  ;  and  in  my  own  experience  of  chairs — for 
what  it  may  be  worth — I  have  invariably  found  the 
"  scooped  "  01  "hollowed"  seat  on  chairs  ofa  markedly 
.  Ifier-Director  date,  as  shown  by  the  type  of  the  backs, 
that  is  to  say,  on  chairs  of  from  1760  or  1765.  But 
I  will  deal  with  this  when  we  come  to  the  decade. 

But  I  want  to  keep  the  student's  mind  on  the 
Director  decade  untroubled  and  unconfused  by  later 
developments  at  this  stage,  since,  as  the  wag  said, 
"  sufficient  unto  the  day  is  the  evil  thereof."  And 
we  are  about  to  examine  the  most  vital  influence  upon 
Chippendale's  genius  in  this  decade — that  "Chinese" 
taste  which  led  him  to  the  development  of  that  style 
with  which  his  name  is  associated  by  the  "  man  in 
the  street,"  though  the  writers  on  the  subject  have,  for 
some  strange  reason,  never  quite  fully  understood 
what  evolved  the  "rococo  "  and  the  "Chinese  taste- 
in  this  age — indeed,  openly  express  their  bewilderment 
about    it.     This   puzzlement    is   due   to  not  paying 


Tin  •    Years   of  Mahogany 


NO.  XII.  MAHOGANY  CHIPPENDALE  CHAIR, 
IN  WHICH  THE  srl.AI  SHOWS  I  1 1 K  GOTHICK 
IK  VERY,     I75O-60 


No.    XIII.— MAHOGANY     CHIPPENDALE    CHAIR,     Mil'. 
5P1   VI    SHOWING    THE    GOTHICK    DESIGN,    MORE 
CARVED;     THE    STRAIGH1      LEGS    GROOVED,     1750-60 


sufficient  attention  to  Chippendale's  obvious  respect 
for  the  vogue  in  the  "French"  taste;  or,  it'  this  be 
realised,  it  is  due  to  our  writers  on  our  native  furni- 
ture not  fully  understanding  the  art  movements  in 
fiance  at  this  time  and  the  resulting  effect  upon  the 
crafts.  This  lack  of  grasp  is,  however,  very  natural, 
since  the  French  taste,  like  all  foreign  influences  "I 
the  preceding  generations,  came  to  England  to  a 
people  who  have  always  been  so  personal  (the  cynics 
would  say  "so  insular")  that  we  have  always  com 
pelled  1  I1.1t  outside  influence  into  our  own  terms  i  ven 
whilst  we  usurped  it.  After  all,  as  I  have  shown, 
Chippendale  so  distorted  it  into  the  native  vision 
when  he  filched  the  ideas  of  his  own  long-passed- 
away  native  "  Gothick,"  so  il  will  easily  be  undei  itood 

thai  he  did  not  hesitate  to  do  it  with  the  "French" 
taste. 

I  eivc  as  frontispiei  e  to  this  article  a  fine  specimen 
of  a  mantelpiece  typical  of  the  first  hall  of  this 
century.  It  is  obvious  that  Chippendale's  furniture 
would  go  superbl)   and  fittingly  with  the  design   ol 

this   tine  work.       It   goes   equally   without    saving   that 

the  designs  in  the  "Gothick"  taste  did  not,  and 
could  not,  go  well  with  it.  Chippendale  never  once 
1  funis  to  he  ,1  creator — an  inventor  of  design:  he- 
dwells  always  on  improving  design.     His  designs,  as 


he  claims,  are  "calculated  to  improve  and  refine  the 
public  taste."  Note  that  he  accepts  the  styles  and 
tastes  in  vogue,  but  he  does  claim  to  "improve  and 
refine  "  them.  Tin-  brothers  Adam,  and  Sheraton  and 
Hepplewhite,  did  i/ivent  designs;  Chippendale    had 

no  such  ambition.  He  did  not  invent  the  '"  Gothick  " 
or  the  "Chinese"  taste.  And  whilst  he  jumped  at 
the    "Gothick"   vogue,   his  tasteful   eye   soon   turned 

him  from  it.      Bui   there  was  tin-,  g I  even  in  his 

falling  away  from  righteousness,  that  he  "  improved  " 
the  "<  lot  hick  "out  of  all  GothickneSS,  and  at  the  same- 
time  beautified  his  own  design  by  the  added  flow  of 

form  .  which  he  look  from  the  "Gothick  "  in  order  to 
give  coherence  and  unity  to  what  before  had  often 
been  disjointed,  even  whilst  he  concealed  its  ills- 
jointedneSS   under  the   perfection   of  this  carving. 

The  vogue  foi  Walpoli  Gothick  was  a  mere  anti- 
quarian's museum  mania.  Horace  Walpole  was  an 
inveterate  collector.  We  have  Macaula;  cont<  mptu- 
011  s  description  of  the  museum  thai  Horace  Wa 

called    a     home    at     the    famous    abortion    known    .1-. 

Strawberry  Hill.  Hut  before  we  touch  upon  that,  let 
us  remembi  i  thai  <  Chippendale  was  a  man  of  genius 
and  taste;  Horace  Walpole  merely  a  brilliant  anti- 
quarian.   <  Ihippendale  did  not  understand  the  (  iothic  ; 

he    was    not    an   educated    man — he    was   iianklv    the 


The    Connoisseur 


shopman  of  his  age.  He  did  not  understand  em 
mi  art  to  know  that  the  heavy  weight  of  massi 
stone  (where  the  builder  aims  at  exquisite  delicai  \  of 

tracery   in    stone)    demands  arches  and   architectural 


had  submitted  to  the  vogue  a  few  times  and  found 
that  it  was  not  good. 

But  Horace  Walpole?     Well,  glance  at  the  picture 
of  Strawberry  Hill.     Horace  Walpole,  like  the  greatly 


No 


XIV.— MAHOGANY    CHIPPENDALE    ARMCHAIR,    THE    DEEPLY    CARVED    TRACERY   SHOWING 
THE   GOTHICK    INTENTION,    1750-60 


tonus  that  answer  stress  and  strain:  but  that  these 
forms  are  alien  to  wood,  which  is  a  wholly  different 
material,  taking  stress  and  strain  in  a  wholly  different 
way  from  stone  :  and  what  was  more',  a  chair,  for 
instance,  does  not  come  under  the  laws  of  stress 
and  strain  that  are  innate  in  a  building.  But  Chip- 
pendale did  know  and  did  understand  the  basic 
essential  lines  of  a  chair — as  his  Director  proves — 
and  tile  genius  of  the  man,  whilst  the  shopman  in 
him  tried  to  profit  by  a  vogue,  forbade  him  to  de- 
bauch  the  essential   foundations  of  his  craft  after  he- 


rich  who  posed  for  taste  and  refinement — or,  as  Sir 
Herbert  Tree  wittily  puts  it.  " refainement " — was  a 
victim  of  the  Grand  Tour.  To  travel  abroad,  to  chip 
a  piece  from  the  nose  of  the  Sphinx  or  Cleopatra's 
needle,  collect  a  phial  of  water  from  the  Dead  Sea 
or  "the  fragment  of  a  Russian  General"  from  the 
bleached  jaw-bone  of  a  jackass  in  the  desert,  to  see- 
the pictures  in  Florence  or  Rome,  and  to  write  a 
dreary  book  about  it  all  on  the  return  home,  was  the 
"  thing  to  do  "  in  every  great  house.  It  established  the 
supreme    "refainement."     It   was  for  half  a  century 


TJie    Years   of  Mahogany 


later  to  be  a  universal  vice.  But  no  man  so  splendidly 
embodied  it  as  Horace  Walpole.  He  collected  e\  ery- 
thing.  In  the  mid-century  of  the  seventeen-hundreds 
be  started  in  England  the"Gothick"  revival.  He 
shrank  from  no  expense.  He  built  Strawberry  Hill, 
"that  trumpery  piece  of  ginger-bread  Gothic,"  with 
'•piecrust  battlements"  and  "pinnacles  of  lath  and 
plaster,"  with  mantelpieces  reproduced  from  tombs 
in  Westminster  Abbey  and  Canterbury  Cathedral — 
the  very  shovels  being  eccentricities — every  room  a 
museum.     The  fascinating  Horace  himself  seem     to 


have  been  given  to  strutting  amidst  his  old  curiosity 
shop  in  Van  Dyck  array.  And  when  we  think  of  the 
"Gothick"  gloom  and  horrors  of  the  place,  it  is  small 
wonder   that   the   French   An  a   the 

house,  took  off  his  hat  with   i>      renci  though   he 

entered  a  holy  place. 

Vet  Horace  Walpole's  "Gothick"  was  lively  stun 
compared  with  the  Victorian  "( lothick"  and  mediaeval 
"renaissance"  of  our  boyhood,  when  the  very  chests 
looked  as  if  they  held  the  dead,  ami  sorrow  tilled 
the  land. 


NO.    XV.       inio.n;      VRMCHAIR,   THE   CARVED      I'l.AT  SHOWING   THE*G [CK    INFI.UI 

i      BY    \    CONTEMl'i  IR  M  \    "1     I   III!  I  ENDA1  I  '-,    1 760 


-M    ', 


Collecting  Antique   China  and   Pottery  Dogs 
By   Mrs.  Kate  Villiers  Clive 


Should  any  of  my  readers  be  anxious  to 
make  a  collection  of  small  articles  of  value,  they 
cannot  do  better  than  turn  their  attention  to  the 
accumulation  of  antique  china  and  pottery  dogs. 
This  collection  would  have  many  charms,  as  being 
not  only  varied  and  ornamental,  but  also  one  that 
many  of  us  could  afford.  A  great  number  of  people 
love  the  relics  of  bygone  days  and  yet  have  too 
slender  purses  to  be  able  to  spend  large  sums  on 
their  hobby.  Antique  china  and  pottery  have  so 
increased  in  value  of  late  years  that  prices  are  now 
very  high,  and  where  one  used  to  buy  in  shillings, 
one  now  has  to  spend  pounds.     I  think  this  will  be 


the  case  more  than  ever  when  the  troublous  times 
we  are  now  going  through  are  passed.  Belgium 
alone  was  a  country  rich  in  articles  of  vertu  of  all 
kinds,  and  I  fear  most  of  these  have  been  destroyed, 
or,  what  is  worse,  fallen  into  the  hands  of  the  enemy. 
China  and  earthenware  dogs  (except  the  very  large 
and  unique  specimens)  can  often  still  be  bought 
quite  cheaply,  but  this  will  not  be  the  case  much 
longer.  Small  pieces  of  china  are  always  more  sought 
after  than  the  large  by  the  ordinary  collector,  on 
account  of  so  many  of  us  not  having  space  to 
accommodate  the  latter.  This  is  another  charm  of 
the  antique  dog.     Of  course,  the  very  early  specimens 


No.    I.— STAFFORDSHIRE    FIGURES:     SPORTSMEN    AND     THE    LOST    SHEEP 

-14 


.  I  iitique    China    and  Pottery 


Dogs 


made  by  Astbury,  Whieldon,  etc.,  are  now  seldom  to 
be  met  with,  and  I  do  not  think  even  to  be  procured 
at  a  low  figure.  When  one  does  come  across  one, 
he  is  always  an  animal  of  such  quaint  design,  and  so 


extremely  tight,  and  had  round  the  base  the  well- 
known  fern  design  so  often  found  on  pieces  made 
by  this  factory.  Its  price  was  in  accordance  with 
its   si/e.  so,  alas!   I  had  to   leave   it,   to   be   bought,  I 


No.   II. 


-POINTER    AND    SETTER 


ATTRIBUTED    TO     DERBY 


unlike  any  dog  one  has  ever  seen,  that  it  is  hard  to 
say  whether  he  is  meant  for  a  dog  at  all.  He  is  often 
much  more  like  a  sheep.  These  early  potters  seem 
to  have  preferred  to  reproduce  the  cat,  and  one  sees 
specimens  of  these  in  museums  and  good  private 
collections.  Chelsea  made  a  few  good  dogs,  but  of 
small  size,  and  generally  grouped  with  other  figures. 
The  pug  was  their  favourite  model,  and  I  once  saw 
a  marked  pair  of  these,  and  only  wish  I  could  have 
possessed  them. 

Ralph  Wood  and  his  successors  were  fond  of  intro- 
ducing the  dog  into  their  groups,  and  in  association 


It  was  worthy  <  >i 


suppose,   by  some  rich  American, 
a  place  in  any  museum. 

No.  ii.  represents  another  very  unique  group,  but 
I  should  attribute  this  to  the  Derby  works.  As  will 
be  seen,  the  setter  and  pointer  are  working,  and 
(what,  unfortunately,  does  not  show  in  the  photo)  a 
pheasant  is  standing  on  the  other  side  of  the  tuft  of 
ferns.  This  group  is  also  of  large  size  and  of  fine 
quality. 

I  consider  Wood  and  Caldwell  were  about  the 
first  potters  who  made  really  pleasing  dogs,  and 
No.  iii.  show-,  a   pair  of  these.      The   modelling   and 


No.    III.— PAIR    OF    SPORTING     DOGS 


BY     WOOD    AND    CA]  DWELL 


with  their  single  figures  (example,  the  lost  sheep  and 
sportsmen  in  No.  i.),  but  seldom,  if  ever,  does  one 
see  one  alone.  Some  fine  ones  were  produced  al 
Leeds,  and  a  short  time  ago  I  saw  one  which 
undoubtedly  was  made  there.  This  was  a  model  ,  ,i 
a  setter,  and  of  a  large  si/e,  for  it  measured  eighteen 
inches   from   nose  to  tail.       In   spile   of  this,   it   was 


colouring  of  both  is  so  true  to  life,  and  on  the  stands 
are  those  charming  touches  ol  pale  blue  so  charac- 
teristic of  their  work.  One  sees  man  idants 
ol  these  delightful  creatures  nowadays  in  d<  i 
shops,  but  they  have  ^o  deteriorated  that  one  would 
scarcely  know  them.  ["he  greyhound,  instead  of 
being  the  pale  grey  and  white  of  his            irs,   has 


The    Connoisseur 

ie  a  tin  1 1  reddish  colour,  and  while  he  reposed         made  dogs,  but  I  consider  Worcester  and  Rockmg- 

on  a    restful    green    plinth,    representing   grass   and         ham  are  answerable  for  the  best  specimens.      Derby 
ferns,  he  now    lies  in  a  must  unnatural  position  on  a         was  also  fund  of  the  dog,  and  many  of  the  poodles 


NO.     IV. — WORCESTER      POODLE 


crude  blue  base,  that  most  terrible  shade  of  bright  one  meets  with  came  from  there.     This  little  gentle- 
blue  so  popular  in  Victorian  days.     The  setter  has  man  has,  I  suppose,  been  collected  more  than  any 
equally  suffered  at  the  hand  of  time.  other,  with  the  usual  result  that  the  antique  shops 
I   think    practically  all    the    old    porcelain    works  are  flooded  with   modern  reproductions;  so  beware. 


NO.     V.— PAIR     OF     STAFFORDSHIRE     POODLES     AND     A     ROCK  INCH  AM     EXAMPLE 

2  I  6 


For   Our   Wounded   Soldiers. 


BARKER'S 

Wheel -About 
Chair. 


EXTRA     STRONGLY     MADE 
MODERATE     IX    COST 
COMFORTABLE    TO    USE 
EASY    TO    MOVE 
RUBBER-TYRED    WHEELS 


This  Chair  has  been  specially  constructed 
at  a  very  moderate  price,  to  meet  the 
present  demand  tor  an  inexpensive  Wheel 
Chair  for  our  Wounded  Soldiers.      EACH 


REGD. 


SPECIAL    PRICE 

£2:5:0 


THOUSANDS    OF  THESE  CHAIRS     WILL    BE    REQUIRED.     CAN  WE 
SEND  ONE  OR   MORE  TO  YOUR  LOCAL  NURSING  HOME? 


MANUFACTURED     ONLY    BY 


JOHN  BARKER  &  Co.,  Ld. 

Kensington,  London,   W 


The    Connoisseur 


oi  that  epoch,  he  is  often  quite  ornamental.  No.  ix. 
gives  a  few  examples.  Most  of  them  are  of  pottery, 
and  the  model  of  the  pointer  outside  his  kennel  (by 


as  a  type  of  beauty.  Many  a  mantelpiece  is  orna- 
mented (?)  by  a  pair  of  these  creatures,  and  they 
are  most  commonly  white  in  colour  with  brown  spots. 


No.  VIII.  —  fAIR  OF  STAFFORDSHIRE  PEGGING  POODLES 


the  way,  it  is  more  like  a  house  than  a  kennel)  is 
a  charming  ornament.  The  two  midget  spaniels 
outside  theirs  is  also  attractive.  I  do  not  consider 
the  late  Victorian  dog  is  worthy  of  a  place  in  any 
collection.  He  is  usually  large  in  size,  coarse  in 
make,  and  generally  unpleasing.  The  King  Charles 
spaniel  is  the  most  favourite  subject,  and  I  think 
it  shows  the  want  of  taste  of  the  age  to  choose  him 


Round  their  necks  are  yellow  collars  (we  can  scarcely 
call  it  gilt :  it  is  not  worthy  the  name)  with  chains 
attached. 

Should  any  of  my  readers  feel  inspired  by  this 
article  to  collect  antique  china  dogs,  I  only  hope 
his  pleasure  in  doing  so  will  be  as  great  as  mine 
has  been.  "No  time  like  the  present"  is  an  old 
saying,  and  in  this  case  a  very  true  one. 


No.    IX. — some     EXAMPLES    OF    MID-VICTORIAN     POTTERY    DOGS 


■18 


GIRL   TAKING   COFFEE 

FROM    THE    ENGRAVING     BY    LOUIS     MARIN 


OTEsf 


bucmej 


[T/ie  Editor  invites  the  assistance  of  readers  of  The  Connoisseur  who  may  be  able  to  impart  the 

information  required  by   Correspondents?^ 


Unidentified  Painting  (No.  iSS). 
Dear  Sir, — I  beg  to  enclose  a  photograph  of  an 
oil-painting  which  I  believe  may  be  attributed  to 
the  Italian  school,  and  seems  to  me  that  it  may 
have  been  painted  by  Giulio  Romano,  who  was  a 
favourite  pupil  of  Raphael.  I  shall  be  glad  to  hear 
il  you  can  make  any  other  suggestion  as  to  its  origin. 
The  measurements  of  the  canvas  are  2  ft.  8  in.  by 

3  ft-  3l  in- 

Yours   faithfully,    Iv/AN    GOLDSCHMIDT. 

Unidentified  Painting  (No.  189). 
Dear  Sir,  —  As  a  regular  subscriber  to  your 
esteemed  magazine,  1  take  the  liberty  of  enclosing 
lien  with  a  photi  1  1  il 
an  old  oil-painting 
in  my  possessn  in, 
and  shall  be  greatly 
obliged  if  you  or 
some  nf  your  read- 
ers would  favour  me 
with  any  information 
n  garding  the  sub- 
ject and  the  name 
of  the  artist.  The 
painting  is  on  oak 
panel,    56    in.     by 

40  in.     The  dealer 

at  ( lopenhagen,  who 

sold  it  to  me  a  few 

years  ago,  attributed 

it  to  a    Dutch  or 

Flemish  fourteenth 

to  fifteenth  century 

painter,     H.   van 

1<  oyme  rswa  hli  n, 

called  "  M  a  1 1  nus, 

bul    I    have   been 

unable  to  ascertain 

whet h er  this    is 

correct.      The  said  18S 


dealer  also  told  me  he  had  it  from  a  Russian  cus- 
tomer, and  that  there  should  be  at  the  Hermi 
in  Petrograd  a  painting  the  subject  of  which  beats 
a  strong  resemblance  to  that  on  the  enclosed  photo, 
excepting,  however,  that  the  child,  si  en  at  the  bottom 
of  same,  is  excluded. 

Yours  faithfully,    P.  C>.  Thulin 

(Ital.  v.  Consul,  Stockholm). 

Unidentified  Painting  (No.  190). 
Dear    Sir, — The    enclosed    photo   is  of  an  oil- 
painting  executed  on   three   oak    panels,   and   si 
"S.    Franckif."       The  date   is  not    quite    clear,    but 
appears  to  be  either  1592  or  1602'.     The  colon: 

very    rich,    and    the 

pa  inting  is  more 
like  enamel  than 
ordinary  paint.  I 
shall  esteem  your 
kindness  if  von  will 
let  me  know  if  there 
isanyinten  stattach 
ing  to  the  picture, 
The  measurements 
an  ;  it.  3  in.  long 
by  2  ft.  3  in.  high. 

Yours  truly, 
thos.  <  '.   \  <  rner. 

Unidj  \  1 
Pain 
(N0.19]  1. 

1  )ear  Sir,  —  1  1  n 

close    you    .1    photo 

of  .1  picture  1  • 

ing   lo  a    I  1  iend  1  >\ 

mine  that  ha 
:<•  my  not 
1.  1    paint- 

ing, about    24    in. 
sntified    painting  °)  i8in.,or  perhaps 

221 


The    Connoisseur 


30  in.  by  20  in.,  but  wry  finely  finished.  (Jan  you 
possibly  throw  any  light  upon  the  matter?  Is  this 
an  original  or  likely  to  be,  or  is  it  a  copy? 

Yours  faithfully,    J.   Shaw  Tomkins. 


very  old  and  in  first-class  preservation.  Of  course, 
I  know  that  it  is  only  a  connoisseur  that  can 
really  give  an  opinion  correctly,  and  so  I  ask  you 
to  kindly  help  me  in  the  matter. 


(189) 


UNIDENTIFIED     TAINTING 


Unidentified  Painting  (No.  192). 

Sir, — I  hope  you  will  pardon  me  thus  taking  the 

liberty  of  writing  you,  but  I  do  so  on  the  advice  of 

the   Director  and  Secretary   of  our  Art   Society.     I 

have  had  a  picture  in  my  possession  for  some  time, 


Any  information  your  readers  can  give  me  as  to 
whether  it  is  an  original  or  only  a  copy  I  shall  be 
extremely  obliged  for. 

Yours  faithfully, 
George  H.  Davey  (Sydney,  N.S.W.). 


(190) 


UNIDENTIFIED      l'AINTING 


and   my   own    impression   is  that  it   is  really  a  good 
work. 

The  picture  is  5  ft.  6  in.  by  4  ft.  2  in.  There  is 
no  mark  or  writing  on  it,  so  far  as  I  can  see,  to 
indicate   its  age   or  authorship,   but  I  am  sure   it    is 


Unidentified  Miniature  (No.   193). 

Dear  Sir, — I  shall  be  greatly  obliged  if  any  of  your 

readers  can  assist  me  in  identifying  the  subject  of  a 

miniature  in  my  possession  which  is  painted  on  ivory, 

and  signed  "  Harding  Pinxt." — Yours  truly,  J.  Y.  R. 


Notes  and  Queries 


Unidentified  Miniature  (No.   i8i),  June,   1915. 

Dear  Sir,— With    reference  to  the  above,    while 

being  unable  to  identify  the  sitter,  I   have  no  doubt 


It  is  well  known  amongst  connoisseurs  that  Engle- 
heart's  likenesses  are  distinctive  for  the  prominence 
accorded  to  the  eyes  of  the  subject,  as  being  th 


(191) 


UNIDEN  1TKIKH     P  ilNTINI 


whatever  that  the  painting  is  the  work  of  George 
Engleheart  (1752  -  1829),  who  executed  an  extra- 
ordinary number  of  portraits  of  important  personages, 
by  which  he  acquired  a  great  reputation.  He  occu- 
pied th'-  position  of  miniature   painter  to  George  III. 


of  expression,  and  his  draughtsmanship,  whilst  refined 
and  graceful,  is  remarkable  for  its  thoroughness.  His 
name  must  not  be  confounded  with  that  of  his  nephew 

and  pupil,  J.  C.  Dillman  Engleheart,  whose  style  is  in- 
finitely inferior.     Engleheart  senior  was  both  born  and 


(192)  UNIDENTIFIED     PAIN  I  ING 

--3 


The    Connoisseur 


bu  r  i  t-  d  at  K  e  w,  and 
■  everal  fine  works  from 
his  hand  have  been  dis- 
covered in  the  Thames 
\  alley.  His  miniatures 
on  ivory  are  held  in  high- 
er esteem  than  those-  on 
enamel.  The  portrait  in 
i [uestion  appears  to  be 
an  excellent  specimen 
oft  he  former,  both 
pretty  and  pleasing, 
which  should  enhance 
its  value. 

Yours  faithfully, 
Alfred  Painter. 

Rembrandt's 

"  Betr.w  \i 

(July,  19 15). 
Sir, — I  cannot  answer 
your  enquirant's  letter 
respecting  Tlie  Price  oj 
the  Betrayal,  o  f  Rem- 
brandt, with  great  exacti- 
tude. It  presumptively 
refers  to  the  painting  in  oils  of  Judas  bringing  Inn!;  the 
thirty  pieces  of  silver  to  the  High  Priest,  painted  about 
1628-30,  in  which  figures  of  medium  size  are  arranged 
on  canvas  of  31^  in.  by  40  ,'■'„  in.  Emile  Michel,  mem- 
ber of  the  Institut  of  France,  in  his  valuable  book  on 
Rembrandt,  published  in  1895  by  William  Heinemann, 
gives  the  pedigree  to  this  picture.  "Collection  of  M. 
Harot,  domiciled  in  France,  from  Fanshawe,  Terrour, 
and  Lord  Northwick  collections."  If  there  is  another 
picture  of  the  Betrayal,  I  do  not  know  it. 

Yours  sincerely,  C.  Van  Plus. 

Hardwick  Hall. 

Dear  Sir, — It  has  been  suggested  to  me  that  Mary 
Queen  of  Scots,  who  was  beheaded  1111587,  could  never 
have  been  imprisoned  or  detained  at  the  presenl 
Hardwick  Hall,  since  it  was  erected  in  1590-97.  This 
is  on  the  authority  of  Ford's  History  of  Chesterfield, 
published  in  1838.  Unfortunately  the  first  half  of  the 
nineteenth  century  was  not  always  remarkable  for  the 
scientific  treatment  of  architectural  questions,  although 
there  were  contemporaries  who  explicitly  believed  in 


(193) 


the  story  of  Mary's  de- 
tention at  the  house  in 
question.  Modern  au- 
thorities, who  are  infinite- 
ly more  reliable,  plai  1 
the  period  of  erection  as 
1576,  which  makes  avast 
difference  to  the  case. 

I  take  this  opportunity 
of  Ci  irrectinga  slip  of  the 
pen  which  might  prove 
embarrassing  to  the 
novice.  When  writing 
of  Chatsworth  and  Old- 
cotes  in  the  same  note, 
I  gave  out  that  both  of 
them  "are  due  to  the 
same  '  Be  ss  of  Hard- 
wick. This  error  is 
sufficiently  palpable  to 
merit  some  degree  of 
commiseration,  for  the 
merest  tyro  could  not 
profess  to  regard  the  pre- 
sent   Chatsworth   as   an 

IIFIED     MINIATURE  ,,,•       ,      tl  ,„»:„„ 

Elizabethan  erection, 
whilst  the  name  of  Oldcotes  is  to  be  numbered  amongst 
the  past  glories  of  our  English  countryside. 

Yours  faithfully,  Latham   Burton. 

Portrait  of  David  Garrick. 

An  interesting  portrait  of  David  Garrick  gazing  at 
a  Medallion  Head  of  Shakespeare  was  reproduced  as 
one  of  our  plates  in  the  June  issue.  This  work  has 
been  regarded  generally  as  being  by  John  Zoffany,  R.  A., 
whose  name  as  a  depictor  of  the  great  actor  will  occur 
to  every  reader.  A  correspondent  writes  to  say,  how- 
1  ver,  that  the  portrait  in  question  is  from  the  brush 
of  Van  der  Gucht,  and  represents  Garrick  in  the 
capacity  of  Steward  of  the  Stratford  Jubilee.  In  any 
1  ase,  the  artistic  value  of  the  picture  is  undoubted  as 
a  tvpical  specimen  of  eighteenth-century  art. 

Note. 
Will  Mary  C.  Ellsworth,   of  Charleston,   U.S.A., 
kindly   send   her  full  address,   as  the   owner  of  the 
portrait  No.  163  (January  and  April,  1915)  wishes  to 
communicate  with  her. 


224 


The  Sydney 
Collection  : 
Pictures 


THE  sale  of  the  Sydney  collection  by  Messrs.  Knight, 
Frank  and  Rutley  opened  at  Frognal  on  June  ~th.  The 
dispersal  of  the  collection,  and  the 
sale  of  the  estate  later  in  the 
season,  breaks  the  connection  of  this 
district  with  an  ancient  family  who 
have  been  in  occupation  of  Frognal  for  many  genera- 
tions. Sir  Richard  Bettinson,  an  ancestor  of  the  late 
owner,  bought  the  estate,  about  the  time  of  the  Restora- 
tion, from  Sir  Thomas  Walsingham,  a  lineal  descendant 
of  the  famous  Sir  Thomas  Walsingham,  Secretary  to 
Oueen  Elizabeth,  whose  family  held  the  property  for 
245  years.  Sir  Francis  Walsingham's  daughter  married 
Sir  Philip  Sydney,  who  fell  at  Zutphen.  The  first  day 
of  the  sale  was  concerned  with  the  old  family  and  other 
portraits.  A  Portrait  Group,  in  a  landscape,  of  Lords 
Robert,  Thomas,  Yere.  Montagu  Bertie,  and  Thomas 
Farrington,  Esq.,  by  Zoffany,  38  in.  by  48  in.,  brought 
£273;  a  three-quarter  length  of  Thomas,  tst  Viscount 
Sydney,  by  (Albert  Stuart,  33  in.  by  27  in..  /136  10s.  ; 
a  half-length  of  Miss  MarsJiam,  by  Gainsborough,  29  in. 
by  24  in.,  /j, 600;  and  a  half-length  of  Thomas,  1st  Vis- 
count Sydney,  by  Gilbert  Stuart,  29  in.  by  24  in., which  was 
exhibited  at  the  National  Portrait  Gallery,  1867,  /'189. 
Other  prices  of  importance  were  a  Landscape  Portrait 
Group  of  Sir  Robert  Walpole,  in  green  hunting  costume, 
n.  a  hunter,  and  hounds,  by  John  Wootton, 
60  in.  by  55  in.,  .£'294:  a  half-length  of  The  Hon.  Mrs. 
Titos.  Townshend,  daughter  of  Col.  Selwyn,  by  J.  Wyck, 
29  in.  by  24  in.,  ,£94  10s.  ;  a  half-length  of  .•/  Youth  of 
the  Bettinson  Family,  with  a  painted  oval  surround  in 
the  Grinling  Gibbons  style,  by  Sir  Peter  Lely,  20  in.  by 
24  in.,  /i">S  10s.  The  first  day's  sale  closed  with  three 
interesting  lots,  which  were  a  half-length  oijohn  Thomas, 
2nd  Viscount  Sydney,  by  George  Romney,  29  in.  by 
24  in.,  £787   10s.  :  a  half-length  of  Geor  vn,  the 

well-known  wit,  by  Sir  Joshua  Reynolds,  29  m.  bj  24  in., 
which  was  exhibited  at  the  V>'  rait  Exhibition, 

and    at    the    Royal    Academy    Exhibition   of  Old 
:  ^,  1S80,  £735  ;  and  a  three-quarter  length  Portrait 
of  tin-  Artist,  by  Madame  Vigee  le  Brun,  1782.  44  in.  by 
34   in.,   which  realised  the  high  sun  130.     This 

picture  was  presented  to  Earl   Sydney  by  the   Empress 
Eugenie  in   memory  of  her  son,   the    Prince    Imperial. 


On  the  second  day  of  sale  a  further  selection  of  pictures 
came  under  the  hammer.     A  /  >  54  in. 

by  24  in.,  realised  £52  10s.  It  will  be  remembered  that 
the  place  was  named  after  that  Earl  Sydney  who  was 
Secretary  of  State  at  the  Home  Office  when  it  was 
covered.  Shortly  after  the  last  lot,  a  Landscape,  with 
a  distant  view  of  Gloucester  and  tin-  S,r,rn.  30  in.  by 
44  in.,  fetched  /50  8s.  :  and  a  Landscape,  with  a 
of  Eton  College,  by  William  Harlow,  24  m.  by  36  in., 
i-i   2S. 

1  in  the   third  day  of  sale,   June  9th,  the  silver 
under  the  hammer,  when  a  set  of  three  plain  octagonal 
muffineers,   thread  bands,  cre>t.  maker's 
SiIver  mark  A.   T.,    1732,    8}   in.   high,    weight 

..  fetched  /130  10s.;  an  octagonal  plain  1 
shaped  teapot,  1715.  14  oz.  18  dwt.,  /"104  6-,.  ;  a  similar 
teapot,  1716,  14  oz.  2  dwt.,  /S4  12s.  ;  anil  a  set  of  four 
circular  salt-cellars,  raised  leaf  ornament  and  acanthus 
border,  1729,  maker's  mark  I.  S.,  260/.  4dwt..  £78  12s. 
Presented  by  George  III.  and  Queen  Charlotte  to  the 
Hon.  Miss  <  ieorgina  Townshend,  and  bearing  the  royal 
monogram,  was  the  set  of  six  oval-shaped  d 
1 borders,    19  in.,   171  in.,   two    13J  in.    and   12  in. 

Ctively,    maker'--  mark    B.   L.,   1782.   195   oz..    which 

ed  £195.  A  set  of  sixty  -  six  Georgian  and 
William  I V.  silver  meat  and  soup  plates,  with  gadroon 
borders  and  the  Townshend  crest,  i,o8g  o  7  dwt., 
dates  170;  to  1834,  was  knocked  down  for  £531  :  whilst 
a  set  of  four  tluted  candlesticks,  12  in.  high,  and 
of  two-light  scroll  branches,  with  centre  vase  for  same, 
Townshend  crest,   circular  base--,   thread  bon  1 

1  s  mark  I.  S.,  148  oz.  iS  dwt.    gross  ,  bn 
ami  a  ( leorge  III.  plain  tea-kettle,  with  engraved  border, 

.  _;  dwt.,  £&4  1  7-. 
The  engravings  were  dispersed  in  the  secoi 
of  the  second  day's  sale  on  June  8th.    The  prio 

were  not  of  suffii  ienl   important  - 
engravings  warrant    a    detailed    statement,    but 

■  1   1  In    two  folli  'i\  ing  l< 
'  liatiiam,    in    state    robes,    by 

npton,  which  brought  £30  9s.  :  ami 
Tin-  lit.  Hon.  Lord  Hood,  Admiral  of  the  Blue,  full 
length,    in    uniform,    by    Valentim  I..    F. 

Abbott.    £21. 


The    Connoisseur 


The  fourth  day's  sale  of  the  Sydney  collection  opened 

on   June   ioth    with   a   selection  of 

old    weapons,    when    a    pair   of 

antique  engraved  steel  and  brass  duelling  pistols  realised 

£  i oi>   i  5. 

The  library  was  put  up  to  auction  on  June  14th,   15th, 
and  16th,   being  the  sixth,   seventh,   and  eighth  days  of 
sale.     A   first  edition  of  the   Great 
s  Nuremberg   Chronicle,   with   fine   im- 

pressions of  the  woodcuts,  and  containing  all  the  blank 
leaves  and  the  account  of  Sarmacia,  often  missing,  orig. 
oak  boards  covered  with  stamped  leather,  1493,  £25  ; 
Journal  of  the  House  of  Lords,  from  vol.  i..  1509,  to 
vol.  cxix..  1885,  Appendix,  7  vols.,  etc.,  12  vols.,  in  all 
140  vols.,  folio,  half  calf,  £25  2s.  ;  and  L'urtis's  Botanical 
Magazine,  complete  from  commencement  in  1787  to 
188S,  in  94  vols.,  roy.  Svo,  half  calf,  and  16  numbers  of 
1889  and  '90,  £64. 

nther  prices  were  Piranesi's  Opere  varie  di  Architet- 
tura  Prospettive  Grotteschi  Antichita,  So  splendid  Roman 
impressions  of  the  etchings,  including  the  scarce  series 
of  16  large  folding  plates  of  Carceri,  fol.,  half  calf,  1750, 
£25  4s.  ;  and  Beaumont  and  Fletcher's  Comedies  and 
Tragedies,  1st  collected  edition,  edited  by  John  Chierly, 
containing  36  plays  printed  for  the  first  time,  with  por- 
trait of  Fletcher  by  Marshall,  fol.  orig.  calf,  gilt  back, 
fine  tall  copy,  1647,  ,£26.  Shortly  afterwards  two  notable 
lots  came  under  the  hammer.  A  fine  Book  of  Hours. 
14th-century  MS.  on  vellum,  8A  in.  by  5J  in.,  finely 
written  in  Gothic  letter,  with  45  large  and  beautiful 
miniatures,  was  bound  up  with  a  16th-century  Service 
of  Prayer,  with  calendar  of  Saints'  Days,  with  18  large 
and  most  beautiful  miniatures,  written  on  220  leaves  of 
fine  vellum,  with  marginal  decorations  of  grotesques 
illuminated  in  gold  and  colours,  bound  in  boards  covered 
in  old  red  velvet,  realised  .£813  15s.  The  fly-leaves  of 
this  interesting  item  are  rilled  with  registers  of  the  Tuke 
and  other  families,  forerunners  of  the  Townshends,  and 
an  inscription  states  that  "This  Booke  was  the  handie 
work  of  Walter  Cromer  followinge  :  Dr.  of  phisick  to 
King  Henrie  the  8.''  The  next  lot  was  a  beautiful 
15th-century  MS.  Hon,-,  of  the  English  use,  written  on 
in  leaves  of  vellum,  8  in.  by  5!  in.,  with  22  large  and 
beautifully  executed  miniatures  in  gold  and  colours  of 
the  martyrdom  of  St.  Thomas  of  Canterbury,  etc.,  and 
other  illuminations,  bound  in  rough  leather,  which 
fetched  ,£60. 

On  the  ninth  day  of  sale,  June  17th,  a  series  of  inter- 
esting works  concerning  America  and  the  Colonies  came 
under  notice.  Linschoten,  His  Discours  of  Voyages  into 
ye  Easte  and  West  Indies,  infoure  Books,  complete  with 
copper-plate  frontispiece,  the  6  large  folding  maps  and 
6  small  in  text,  a  fine  tall  and  unique  copy,  fol.,  contemp. 
calf,  from  the  library  of  James  I.,  with  his  arms  in 
centre,  lion  rampant  at  angles  on  sides,  in  fine  preserva- 
tion, 1 598,  brought  ,£63.  The  Atlantic  Neptune :  1 
of'  the  Coast  and  Harbours  in  the  uit/ph  and Riv 
St.  Lawrence,  etc.,  etc.,  "from  surveys  taken  by  Major 
Holland,  Surveyor-General  of  the  Northern  District  ot 
North  America,    .     .    .     1765-8,  for  the  use  of  the  Royal 


Navy  of  Great  Britain,  by  J.  F.  W.  I>es  Barres,  1770-80," 
with  upwards  of  80  large  elephant  fol.  folding  maps,  etc., 
and  [3  full-page  views  in  sepia,  of  which  4  are  finely 
coloured  by  hand,  and  96  smaller  views  in  sepia,  etc., 
of  which  45  are  also  beautifully  coloured  by  hand  to 
look  like  miniatures,  109  illustrations  in  all,  2  vols., 
elephant  fol.  (two  or  three  maps  and  one  or  two  views 
damaged,   otherwise  in  fine  condition),   realised  ,£295. 

On  June   17th,  the  ninth  day  of  sale,   the  MSS.  and 
autographs   came   under   the    hammer.       The    Sydney 
correspondence  included  many  in- 
Autographs  teresting  items.      The  lot  which 

contained  documents  relating  to  the  American  War  of 
Independence  realised  ,£28  "s.  ;  whilst  the  important 
collection  relating  to  Ireland,  upwards  of  200  documents, 
and  chiefly  of  the  years  1782  to  1789,  only  brought  ^22. 
Nearly  100  letters  and  papers  dealing  with  America,  in- 
cluding a  number  of  letters  from  Governor  Shirley,  were 
knocked  down  for  ^50  8s. ;  and  ^42  was  the  highest  bid  for 
a  wooden  box  containing  about  250  miscellaneous  docu- 
ments relating  to  the  British  Colonies,  including  India, 
Canada,  Nova  Scotia,  West  Indies,  etc.  An  important 
holograph  letter  of  Lord  Chatham,  3  pp.  4to,  undated, 
but  headed  "  Hayes,  Tuesday  night,"  brought  ,£60  1S3. 
The  writer  says  :  "  Finding  that  the  Doom  against 
America  is  to  be  pronounced  from  the  Treasury  Bench, 
perhaps  in  a  few  hours,  it  will  be  too  late  to  attempt 
preventing  a  Civil  War,  after  it  is  once  inevitably  fix  t. 
this  unhappy  exigency  leaving  no  option.  I  must  speak 
or  for  ever  hold  my  tongue,"  etc.  An  interesting  4-page 
letter  from  Lt.-Col.  James  Wolfe,  the  hero  of  Quebec, 
to  Townshend,  dated  from  Devizes,  iSth  July,  1756, 
realised  .£45  3s.  /"  1 52  5s.  was  the  highest  bid  made  for 
an  exceedingly  rare  MS.  account  of  the  dinners  provided 
for  the  Lords  of  King  Henry  VIII. 's"  Moste  Honourable 
Councell,"  from  nth  December,  1514,  to  5th  April,  1515, 
signed  by  Cardinal  Wolsey,  then  Archbishop  of  York  ; 
Thos.  Howard,  2nd  Duke  of  Norfolk  ;  Bishop  Fox,  of 
Durham,  afterwards  Bishop  of  Winchester;  Bishop 
Ruthall,  of  Durham  ;  and  Charles  Somerset,  Earl  of 
Worcester.  The  log  included  a  number  of  letters  from 
Lord  Lothian,  Lord  Aldenham,  and  Dr.  James  Gardiner, 
concerning  the  document.  Various  documents,  22  in 
all,  exclusive  of  enclosures,  concerning  Sydney,  New 
South  Wales,  which  was  named  after  Viscount  Sydney, 
Secretary  of  State,  who  had  control  of  the  Colonies  at 
the  time  of  its  discovery,  the  dates  mostly  covering  the 
period   1788  to   1800,   fetched  ,£60. 

Good  prices  were  realised  when  the  furniture  from  the 

Sydney  collection  was  dispersed.      The  following  were 

some  of  the  most  important  items  : — 

Furniture  a  se{  of  gix  winiam  and  Mary  walnut 

high-back  chairs,  £78  15s.  ;  a  William  and  Mary  mar- 
queterie  walnut  table,  profusely  decorated,  ball  feet  and 
tapering  legs,  3  ft.  3  in.  wide,  .£68  5s.  ;  an  antique  black 
and  gold  lacquered  cabinet,  with  engraved  brass  mounts, 
on  table  stand,  /141  1 55.  ;  a  Chinese  incised  lacquer 
six-fold  screen,  in  brilliant  colours  and  gilt,  gilt  pierced 
brass  hinges.  6  ft.  4  in.  high,  8  ft.  wide,  Kang-he,  ^210: 
a  Louis  XV.   parqueterie  king-wood  writing  table,  with 


226 


///    the    Sale    Room 


Edinburgh 
Art  Sale 


chased  ormolu  mounts,  4  ft.  3  in.  wide,  £409  10s.  ;  an 
early  Georgian  wall  mirror,  in  carved  and  gilt  frame  of 
scroll  design,  5  ft.  high,  2  ft.  10  in.  wide,  £jl  12s.  :  an 
Adam  carved  and  gilt  oval  frame  wall  mirror,  3  ft.  8  in. 
D>"  3  ft-i  i~64  IS-  5  ar>d  a  Louis  XV.  king-wood  bureau, 
2  ft.  7  in.  wide,  signed  C.  M.  Malle,  ,£52  10s.  Previous  to 
the  last-mentioned  lot,  a  Louis  XV.  king-wood  commode, 
inlaid  with  hare-wood  and  tulip-wood,  with  rive  panels 
of  finely  executed  marqueterie  work  on  a  green  back- 
ground, chased  ormolu  frieze,  Siena  marble  top,  etc., 
4  ft.  5  in.  wide,  brought  £2,205.  Other  important  sums 
given  were  £252  for  a  Louis  XVI.  marqueterie  writing 
table,  ormolu  mounts,  cabriole  legs,  19  in.  wide;  £147 
for  a  Louis  XVI.  parqueterie  cabinet,  of  king-wood  and 
hare-wood,  tambour  front,  tapered  legs,  gallery  and 
ormolu  mounts,  2  ft.  1  in.  wide;  and  £115  for  a  Louis 
XV.  king-wood  commode,  with  marqueterie  panel,  chased 
ormolu  mounts,  cabriole  legs,  18  in.  wide.  Later,  a 
Louis  XV.  marqueterie  tulip  -  wood  and  king  -  wood 
cabinet,  with  richly  chased  ormolu  mounts,  6  ft.  1  in. 
high,  3  ft.  3  in.  wide,  fetched  £252.  The  furniture  was 
sold  on  June  21st.  22nd,  and  23rd,  which  were  the  tenth, 
eleventh,  and  twelfth  days  of  the  sale. 

A  COLLECTION  of  modern  paintings  from  various 
sources  was  dispersed  on  June  12th  by  Mr.  Dowell,  at 
his  room-  [8,  1  .eorge  Street,  Edin- 
burgh:, when  the  following  prices 
were  realised  : — Arran  from  the  Cam- 
braes,  by  Arthur  Perigal,  F.S.A.,  41  in.  by  25  in., 
£30  9s.  ;  The  Sognefjord,  Norway,  by  A.  Normann. 
37  in.  by  24J  in.,  £32  11s.  ;  Nandschap,  Holland,  by 
W.  B.  Tholen,  38J  in.  by  27  in.,  £32  [  1  s.  :  Love's  First 
Steps,  bj  Anatole  Yely.  12J  in.  by  22  in.,  £31  10s.  ; 
Fall  on  the  Lednock,  Perthshire,  by  Arthur  I'erigal, 
394  in.  by  26  in.,  £32  us.  ;  The  Pass  of  Shieldaig,  Ross- 
shire,  by  \V.  Beattie- Brown,  R.S.A.,  50  in.  by  36  in., 
£33   12s.  ;  and  The  Upper  Rea  Norfolk  ids,   by 

Prof.  Karl  HefTher,  46  in.  by  31  in.,  £58  16s.  Later 
on  The  Crofter's  Team,  by  Joseph  Farquharson,  R.A.. 
72  in.  by  43  in.,  which  was  exhibited  at  the  I 
Academy  in  1876,  fetched  £5 1  9s.;  Pascuccia,  by  John 
Phillip,  K.A..  19J  in.  by  24  in.,  which  was  painted  in 
Rome,  1866,  and  exhibited  at  the  R.S.A..  [867,  and 
International  Exhibition,  1873,  £31  10s.  ;  and  Past  ami 
.'  1  at,  by  Sir  George  Harvey,  P.R.S.A.,  72  in.  by 
46  in.,  £84. 

THE  library  of  sporting  literature  formed  by  the   late 
Sir  Walter  Gilbey  was  sold  at  Messrs.  Christie,  Manson 
and   Woods  on  June  21st  and   22ml. 
"  .Two  scarce   lots   which   should   have 

been  offered  were  stolen  mysteriously 
in  the  week  before  the  opening  of  the  sale.  They  were 
Pierce  Egan's  Boxiana,  or  Sketches  of  Ancient  and 
•  n  Pugilism,  5  vols..  1818-29;  and  Samuel  Aiken's 
Delineations  of  British  Field  Sports.  J.  Hudson,  1823, 
inscribed,  "Unique  and  very  scarce  work.  This  is  the 
only  known  copy  in  existence.  W.G."  The  sale  com- 
menced with  some  works  by  Henry  Aiken.     His  National 


Sports  of  Great  Britain,  jocol.  plates,  halfmor.,  McLean. 
1825,  realised  £\o  :  Sporting  Scrap  Hooks,  50C0I.  pi: 
calf  ex.,  g.e.,  by  Riviere,  orig.  wrapper  mounted  at  1 
McLean,   n.d.,   £13:   and  rting  Repository,    19 

col.  plates,  half  mor.,  McLean.  1822.  ,{';i.  Later,  the 
Annals  of  Sporting  and  Fancy  Gasette,  Jan..  1822 
June,  1828,  with  many  illustrations  by  Aiken,  Cruikshank, 
etc.,  13  vols.,  calf  ex.,  g.e.,  by  Riviere,  1822-8,  a  com- 
plete set  with  rare  June  part  in  vol.  13,  fetched  £48 ;  the 
Annual  Register,  from  commencement  in  175S  to 
with  index  vol.,  I.-LXL,  149  vols,  in  150,  half  calf  13 
vols,  cloth),  1758-1907,  £S  10s.  ;  Life  of  a  Sportsman, 
by  "Nimrod"  (C.  J.  Apperley),  1st  ed.,  36  col.  plates, 
by  H.  Aiken,  blue  cloth,  g.e.,  Ackermann,  1842.  £50; 
i,  of  Modern  Faulconry,  by  James  Campbell,  [St 
ed.,  frontispiece,  green  mor.,  blind  tooling,  g.e.,  by  T. 
Gosden,  with  his  bookplate,  Edin.,  1773-  £'h-  The  Old 
English  Squire :  A  Poem,  by  John  Careless,  isted..  24 
plates  after  style  of  Rowlandson,  mottled  calf  ex.,  uncut, 
t.e.g.,  by  Riviere,  McLean,  1821.  £S  :  and  Gentleman's 

ation,  by  N.  Cox,  1st  ed.,  engraved  title.  Antient 
Hunting  Noats,  and  three  folding  plates,  calf,  1 
/19  10s.  It  was  somewhat  surprising  to  note  that  a  set 
of  the  Dictionary  of  National  Biography,  ed.  by  Sir  L. 
Stephen  and  Sir  S.  Lee.  with  the  supplements  and  errata, 
70  vols.,  cloth,  1885-1912,  only  realised  £\\.  The  lot 
immediately  succeeding  the  first  of  the  stolen  books 
noted  above  was  Pierce  Egan's  Life  in  London,  and  the 
Finish  to  Life  in  London,  large  paper,  col.  plates  lis  1  ,. 
and  R.  Cruikshank,  2  vols.,  green  mor.,  y.e.  with  the 
original  broadside  advt.  of  the  former  inserted  ,  1823-30, 
winch  was  knocked  down  for  £25.  The  Fancy,  or  True 
Sportsman  <  Guide,  .  .  .  by  an  Operator,  portraits 
and  plates,  2  vols.,  calf  ex..  g.e.,  1821.,  brought  £\\  : 
the    Boke    of   Husbandry,-,    now  '    and 

amended,  by  Sir  A.  Fit/herbert,  black  letter,  vellum. 
John  Awdeley,   1568  (together  with    The  Sur- 

veyings, 156S,  The  Boke  of  Measuryng  Lande,  by  Sir 
K.  ile  Benese,  Thomas  Colwell,  n.d..  and  Xenophon's 
Treatise  of  Householde,  John  Allde,  15  ction 

i/cs   (in 'formes  des   Armies  Fi  i    1814,  100 

col.  plates  after  Vernet  and  Lanin,  also   L.  ■  lunie 

of  the  Turks,  30  col.  plates,  in  1  vol.,  boards.  Pan-.  [822 
—  London,    1828,    f.iy.    Thomas    Gosden's    Essays   on 
Hunting,  by  a  Country  Squire,  1st  1 
by  T.  Gosden,  f.  Roberts.  1735,  £[&  10s.  ;  and  the  same 
author's   Impressions  of  a  Series  of  Animals.  Birds, 
illusll  British  Sports  from  a  set  of  Silver  Rations. 

engra  Ott,  portrait  of  Gosden,  large   paper,  calt 

ex.,   with  some  of  the   buttons  reproduced  on  sid. 
Gosden,  1821.  £z\.    <  (ther  prices  on  the  first  day  were  as 
follows  :  Ackermann's  Mi  I  ondon;  or  London  in 

Miniature,  coloured  aquatints  by  Rowlandson  and  Pugin, 
3  vols.,  half  mor.,  Ackermann,  1  <s. ;  Aiken's 

ting  Satirist,  title  (mounted  ,  and  12  col.  plate 
ex.,   11.    Dawe,    1834,  £;-  Barlow's  5< 

Waves  of  Hunting,   Hawking,  ana  ■  rding 

to  the  English  Manner,   title  and    [2   pi; 
Hollar,  mottled  calf.  n.d.    1671),  £19;  Julian 
The  Gentleman's  Academi  '■■■of  S.  A/ban 


227 


7  lie    Connoisseur 


reduced  into  a  better  method  by  G.  M(arkham),  cuts  of 
arms,  some  coloured,  calf,  II.  Lownes,  1595,  .£23;  and 
Thos.  Gosden,  Portrait  of  the  Sportsman,  by  Maile,  after 
Marshall,  in  10  slates,  including  one  in  colours,  also 
autograph  letters  from  the  painter  and  from  Clarkson 
St.Liiheld  to  Thomas  Gosden,  bound  in  a  vol.,  half  call" 
(with  7  specimens  of  Gosden's  various  bookplates;  the 
plates  are  signed  by  him,  and  an  MS.  note  in  his  hand 
states,  "Time  alone  will  prove  the  worth  of  this  volume"), 
,£210.  A  further  selection  of  Aiken's  works  went  as 
follows:-  A  Collection  of  Sporting  and  Humorous 
/ >,  tigns,  with  over  300  fine  col.  plates,  3  vols.,  contemp. 
mor.,  g.e.,  McLean,  1824,  .£105:  the  original  drawings 
for  The  Sketch  Hook,  on  sunk  mounts,  calf,  g.e.,  ,£28; 
(  ockney's  Shooting  Season  in  Suffolk,  6  col.  plates,  half 
calf,  orig.  wrappers  preserved,  McLean,  1822,  ,£10  10s.  ; 
Hunting  Sketches,  series  of  6  col.  aquatints,  cloth,  Fores, 
1859,^8  15s.;  The  Grand  Leicestershire  Steeple  Chase, 
1829,  8  col.  aquatints,  engraved  by  Hentley,  with  de- 
scription of  the  race,  cloth,  Ackermann,  1830,  ,£63  ;  How 
to  qualify  for  a  Meltonian,  6  large  col.  plates,  mor.  ex., 
front  wrappers  preserved,  S.  &  J.  Fuller,  1819,  ,£36  15s.  ; 
National  Sports  of  Great  Britain,  with  description  in 
English  and  French,  50  col.  plates,  half  mor.,  1821, 
,£58  16s.  ;  a  different  work.  National  Sports  of  Great 
Britain,  large  paper,  50  plates,  uncoloured,  half  calf. 
[825,  £y  7s.  6d.  ;  and  Sporting  Scrap  Boo/:,  50  col.  plates, 
half  mor.,  McLean,  1824,  £6  6s.  Towards  the  end  of 
the  day  Thomas  Chippendale's  The  Gentleman  and 
Cabinet-Maker's  Director,  200  copper-plates,  3rd  edit., 
half  calf,  uncut,  1 762,  brought  ,£30.  On  the  second 
day  Lord  Lilford's  Coloured  Figures  of  the  Birds  of 
the  British  Islands,  2nd  edit.,  7  vols.,  half  levant 
mor.,  uncut,  t.e.g.,  1891-7,  fetched  £32;  The  Young 
Sportsman's  Delight  and  Instructor,  by  < '..  M.  (Gervase 
Markham),  frontispiece  and  cuts,  orig.  calf.  "Sold 
at  the  Ring  in  Little  Britain,"  n.d.,  £S  ;  and  J.  C. 
Smith's  British  Mezzotint  Portraits:  a  Descriptive  Cata- 
logue, with  Biographical  Notes,  etc.,  125  portraits, 
4  vols.,  cloth,  1884,  /21.  The  next  lot  but  one  was 
the  rinest  set  in  existence  of  the  Sporting  Magazine,  or 
Monthly  Calendar  of  the  Transactions  of  the  Turf,  etc., 
complete  from  the  commencement  in  1793  to  1870,  with 
index  of  engravings  compiled  by  F.  S.  Hanks,  and  edited 
by  Sir  Walter  Gilbey  2  copies),  with  over  1,000  copper 
and  steel  plates,  after  Stothard,  Landseer,  Scott,  etc., 
together  158  vols.,  finely  bound  in  full  calf  ex.,  g.e.. 
by  Riviere,  1 793-  1S70- 1892,  which  was  knocked  down  for 
,£260.  A  note  in  Sir  W.  Gilbey's  library  catalogue  states 
that  the  set  contains  every  engraving.  Shortly  after- 
wards, R.  S.  Surtees's  Analysis  of  the  Hunting  Field,  1st 
ed.,  7  col.  plates  by  Aiken,  and  woodcuts,  crimson  mor. 
ex.,  g.e.,  Ackermann,  1S46,  was  knocked  down  for,£8  5s.; 


whilst  the  same  author's  Handler  Cross,  or  Mr.  for- 
rock's  Hunt,  1st  ed.,  col.  plates  and  woodcuts  by  Leach, 
cloth,  as  issued,  1854,  brought  £lt>.  Other  prices  were 
,£24  for  C.  M.  Westmacott's  The  English  Spy,  1st  ed., 
with  col.  plates  by  R.  Cruikshank  and  Rowlandson,  and 
woodcuts,  2  vols.,  half  red  mor.,  1825-6;  /j  5  15s.  for  II. 
L.  Meyer's  Illustrations  of  British  lards,  fine  hand-col. 
plates,  4  vols.,  mor.,  g.e.,  1835-41  ;  .£11  5s.  for  Remark- 
able life  of  fail;  Sheppard,  Northampton,  1724,  and  The 
Prison  Breaker:  A  Faroe,  1725,  both  works  inlaid  to  4to 
size  and  illustrated  with  numerous  old  engravings,  etc., 
including  mezzotint  portrait  of  Sheppard  by  White,  and 
another,  when  in  prison,  in  two  states,  published  by  Bowles 
ion  the  bottom  margin  of  one  leaf  is  a  pencil  portrait 
of  G.  Cruikshank  by  himself),  calf,  with  book-plate  of 
W.  Harrison  Ainsworth  ;  £\~i  for  Thomas  Sheraton's  The 
Cabinet-Maker  and  Upholsterer's  Drawing  Book,  $rd  ed., 
with  appendix,  calf,  fine  copy,  1802;  ,£42  for  Sportsman's 
Cabinet,  plates  by  Scott,  woodcuts  by  Bewick,  2  vols,  in  1, 
russia  ex.,  silken  ends  and  fly-leaves,  with  wide  inside 
margins  and  joints,  sporting  tooling,  etc.,  g.e.,  by  Gosden, 
with  his  book-labels,  in  calf-covered  box  with  clasps, 
1S03-4  ;  £23  2s.  for  the  original  MS.  of  T.  H.  Taunton's 
Portraits  of  Celebrated  Racehorses,  together  with  numer- 
ous engravings  and  pencil  drawings  by  the  author,  who 
adds  in  a  note  that  the  pedigrees  of  all  the  horses  have 
been  carefully  investigated  by  reference  to  the  Genera/ 
Stud  Book,  4  vols.,  calf,  with  clasps,  1880  ;  ,£22  10s.  for 
Venationis,  Piscationis,  el  Aucupii  Typi,  48  brilliant 
impressions  of  engravings  by  Galle,  after  Bos,  boards, 
Antverpia*  1  1582  1  ;  £33  for  History  of  the  Works  of  Sir 
foshua  Reynolds,  by  Algernon  Graves  and  W.  V.  Cronin, 
one  of  the  six  large  paper  copies,  115  photogravures,  and 
over  700  additional  engraved  plates  added,  with  MS.  in- 
troduction by  E.  E.  Leggatt — for  whom  the  six  copies  were 
printed  (with  list  of  the  owners  of  these  copies),  13  vols., 
half  maroon  mor.,  g.,  1899;  and  ,£21  10s.  for  Capt.  T. 
Williamson's  Orient, 1/  If  eld  Sports,  40  fine  col.  aquatints, 
half  russia,  Orme,  1807.  ,£65  was  the  highest  bid  for 
Bagster's  edition  ( 1 808)  of  Walton  and  Cotton's  Complete 
Angler,  largest  paper,  with  the  fine  engravings  by 
Audinet.  after  Wale,  portraits,  etc.,  proof  impressions  : 
also  extra  illustrated  with  a  large  number  of  rare  portraits 
and  views,  including  original  col.  portraits,  heavy  oak 
boards,  covered  with  brown  russia,  with  silken  ties,  silken 
ends  and  fly-leaves,  tooled  joints  and  margins,  wholly  un- 
cut, by  Thomas  Gosden,  in  mor.  case.  A  catalogue  note 
states  that  "  this  copy  was  evidently  illustrated  and  bound 
by  C.osden  for  William  Simonds  Higgs,  whose  initials  are 
on  the  side,  and  his  portrait,  painted  in  colours,  forms 
one  of  the  frontispieces.  The  bands  of  this  book  are 
made  out  of  wood  which  belonged  to  Cotton's  Fishing 
House.      Inscription,  signed  T.  Oosden,  on  fly-leaf." 


228 


TH1-:    EARL    OF    BRISTOL    AND    THE    EARL    OF     BEDFORD 

BY    SIR    ANTHONY    VAN    DYCK 

hi  the  collection  of  Earl  Spencer,  K.G.,  at  Al thorp 


*. 


■'. 


Gallery  of 
Melbourne 


The  National  ( rallery  of  Melbourne,  founded  more 
than  half  a  century  ago,  possesses  one  of  the  finest 
collections  of  works  of  art  in  the 
overseas  dominions.  The  gallery 
is  contained, in  an  imposing  classic 
building,  in  which  the  public  library 
and  museums  are  also  situated.  Amongst  the  statuary 
standing  in  the  grounds  in  front  of  the  building  are 
bronze  statues  of  Jeanne  J' Arc,  a  replica  by  E.Fremiet 
of  the  original  which  stands  in  the  Place  des  Pyramides, 
Paris,  and  of  St.  George  and  the  Dragon,  by  the  late 
Sir  Edgar  Boehm,  R.A.  From  time  to  time  many 
notable  paintings  have  been  secured.  To  mention 
only  a  few:  Quatre  Bras,  by  Lady  Butler;  Love  and 
Deatk(&  replica),  by  Watts  :  First  Cloud,  by  Orchard- 
son  ;  Queen  Victoria,  alter  Gilbert's  statue  at  Win- 
chester, by  Herkomer  ;  TheVintage  Festival,  by  Alma- 
Tadema  ;  besides  many  others. 

In  the   year  1904  a  wealthy  citizen  of  Melbourne, 


Mr.  Alfred  Felton,  bequeathed  the  munificent  sum 
of  ,£240,000,  and  the  income  derived  from  it,  to  be 
devoted  to  the  purchase  of  works  of  art  for  the 
National  Gallery.  The  trustees  of  Mr.  Felton's  will 
are  the  Trustees,  Executors,  and  Ag<  m  \  I  !o.,  Limited, 
of  Melbourne,  and  they  have  power  to  appoint  repre- 
sentatives  in  England  to  advise  them  in  the  acquisition 
of  works  of  art.  This  Bequest  Committee  decide 
what  purchases  shall  be  made,  and  when  all  trans- 
actions are  concluded  the  objects  are  handed  over  to 
the  trustees  of  the  National  Gallery.  The  latter  have 
hardly  any  power,  except  to  reject  or  accept  the 
Felton  Committee's  proposals,  although  they  may 
make  recommendations. 

from  the  date  when  Mr.  Felton's  will  came  in 
force  most  of  the  paintings  and  sculpture  have  been 
purchased  out  of  the  bequest  fund.  At  first  matters 
appear  to  have  worked  smoothly,  and  some  fine 
works  were  acquired  on  the  recommendation  ot  the 


111    on    1 "  PERDl  it" 
1:','    |l  0 1  N    HI  IPPNER,    R.  \. 


HASED    UNDER     NIK    I  I.I   Ion     i,i KIR   j£2,OO0 


pi  11;  1  1    \ Ml  !S     1  HEOrHIl   \      "  0FFY  "l    PA1  ' 

OSH      I    REYNOl  DS,    P.R.A. 
■URCHASF.D  !   IK     I  UK    FE1   TON    BEQ1  ESI     Vol;    /,'5,OO0 


-;  1 


The   Connoisseur 


director  of  the  gallery,  such  as  Fremiet's  statue  of 
Jtanne  d'Arc  and  The  Bent  Tree,  by  Corot,  which 
came  from  the  Alexander  Young  collection  ;  but  of 
recent  years  there  has  been  an  uneasy  feeling  in  the 
Commonwealth  that  the  funds  accruing  under  the 
Felton  Bequest  for  the  purchase  of  pictures  to  be 
hung  in  the  Melbourne  Gallery  are  being,  to  a  large 
extent,  misspent.  In  April  last,  Mr.  Bernard  Hall, 
the  director  of  the  gallery,  communicated  a  scathing 
criticism  to  the  Melbourne  Argus  upon  some  of  the 
recent  purchases  of  the  Felton  Bequest  Committee. 
His  chief  attack  is  directed  against  two  portraits,  one 
by  Hoppner  and  the  other  by  Reynolds.  After 
making  some  comparisons  of  the  prices  paid  for 
various  paintings,  he  says:  "With  regard  to  the  por- 
trait by  Hoppner,  I  fail  to  find  a  single  masterly  touch 
or  quality  from  top  to  bottom  of  this  canvas.  There 
is  neither  drawing  nor  painting  in  the  picture.  It  is 
untypical,  and,  I  should  say,  without  hesitation,  worth- 
less as  a  work  of  art.  The  eyelashes  are  touched 
in  with  a  sable  brush,  lash  by  lash.  The  nostril  is 
similarly  outlined.  The  comer  of  the  mouth  is  shaded 
with  fine  lines,  as  though  it  were  a  pen-drawing,  while 
neither  the  form  of  the  lips  nor  the  use  of  the  brush 
is  understood  in  the  least.  ...  I  found  so  little 
virtue  and  quality  in  this  so-called  portrait  of  Mrs. 
Robinson  on  its  arrival,  that,  remembering  it  had 
been  recommended  as  '  an  excellent  specimen '  and 
'  a  fine  example,'  'representative  and  well  preserved,' 
I  was  simply  dumbfounded.  Although  we  were  told 
'  it  had  been  in  the  Pleydell-Bouverie  family  for 
generations,'  I  still  had  grave  doubts,  and  determined 
to  put  them  to  the  test  by  writing  for  information  to 
the  former  owners.  In  reply  to  my  request,  Miss 
Bouverie  wrote:  'There  must  be  either  a  mistake  in 
the  history  of  Mrs.  Robinson  as  given  to  you,  or,  if 
it  was  a  picture  belonging  to  my  brother,  it  has  been 
wrongly  named.'  To  my  second  letter,  with  a  photo- 
graph of  the  portrait  enclosed,  Miss  Bouverie  replied  : 
'  I  quite  recognise  the  picture  as  having  been  in  the 
possession  of  my  family,  but  under  the  name  of  Mrs. 
Abington,  by  Romney.  It  was  bought  by  my  father 
about  1870-1.  How  the  picture  comes  now  to  be 
sold  under  another  name  is  quite  a  mystery  to  me. 
At  the  sale  of  my  brother's- pictures  in  1907  it  fetched 
.£165,  so  in  the  interval  somebody  has  made  a  very 
large  profit.  My  father  bought  it  in  the  ordinary  way 
from  a  picture-dealer.'  So  the  statement  that  it  was 
in  this  family  for  generations  boils  down  to  the  fact 
that  it  was  bought  about  1870  from  some  now  undis- 
coverable  dealer,  and  in  thirty-seven  years  passed 
from  father  to  son,  and  was  sold  for  ,£165  to  a  dealer, 
who  (having  first  changed  both  the  name  of  the  artist 
and  the  actress)  disposed  of  it  two  months  afterwards 


for  ,£1,000  to  a  private  collector.  This  gentleman 
(from  whom  we  purchased  the  Reynolds.)  kept  it  for 
three  years,  until  finding  we  were  in  the  market, 
graciously  consented  to  let  us  have  it  (at  a  profit  to 
himself  of  100  per  cent. )  for  ^2,000.  .  .  .  We  are, 
however,  still  as  far  from  knowing  whose  portrait  it 
is  or  by  whom  it  was  painted,  and  The  Times  critic 
(himself  one  of  the  best  authorities  on  Hoppner) 
was  strictly  correct  when  he  wrote  in  that  journal 
(February  28th,  191 1),  beyond  that  it  had  come  from 
the  W.  Pleydell-Bouverie  collection,  'nothing  seems 
to  be  known  of  its  history.'  Finally,  although  we  had 
been  informed  that  our  portrait  was  catalogued  and 
described  in  Roberts  and  McKay's  authoritative  work 
on  Hoppner,  it  was  soon  discovered  that  ours,  although 
known  to  the  authors,  was  not  mentioned  at  all. 
.  .  .  The  history  of  the  portrait  by  Reynolds,  which 
at  least  is  an  authentic  work,  is  as  follows : — It  was 
sold  at  Christie's  in  1874  by  a  descendant  of  the 
Reynolds  family  to  the  then  Mrs.  George  W.  Currie 
f°r  ^J73-  In  1906,  at  the  sale  of  Lord  Currie's 
pictures,  it  was  bought  by  a  dealer  for  950  guineas. 
On  the  very  next  day  it  was  sold  by  him  to  Sir  William 
Bennett  for  -£2, 100 — an  advance  of  ,£1,100 — who  in 
less  than  five  years  sells  it  to  us  for  ,£5,000,  in  this  case 
an  advance  of  nearly  .£3,000.  This  in  my  opinion  is 
no  masterpiece,  nor  one  to  obtain  which  there  was  the 
slightest  reason  to  have  '  plunged  '  to  such  an  extent.'' 
The  Argus  devotes  a  leading  article  to  the  subject, 
and  stales  :  "  However  strictly  the  letter  of  the  bequest 
may  be  respected  in  the  mere  process  of  purchasing, 
its  spirit  is  being  grossly  outraged  if  our  National 
Gallery  is  being  made,  as  seems  to  be  the  case,  a  sort 
of  dumping-ground  for  mediocre  works  of  art  foisted 
upon  it  at  exorbitant  prices  by  astute  dealers  and 
collectors.  It  would  almost  appear  as  though  sellers 
in  the  Old  World  had  come  to  regard  the  Melbourne 
Gallery  as  a  place  of  all  others  with  which  a  highly- 
profitable  trade  might  be  done  in  pictures  having 
little  to  recommend  them  beyond  the  names  of  great 
artists  who  had  painted  them  in  their  weaker  moments, 
or  to  whom  they  were  attributed  on  more  or  less 
doubtful  authority.  .  .  .  The  two  purchases  such 
as  these,  capping  all  the  other  vagaries  of  the  present 
system  of  buying,  call  for  the  severest  condemnation. 
It  is  little  short  of  a  public  scandal  that  this  generous 
bequest  should  be  so  abused." 

Late  Celtic  Art  as  exemplified  in  some  Bronze 
Mirrors  of  the  Period 

In  the  accompanying  illustration  of  late  Celtic 
bronze  mirrors  will  be  seen  some  almost  unique  and 
highly  characteristic  examples  of  the  art  of  the  period. 
The  archaeologist  who  has  once  become  familiar  with 


«3  2 


Notes 


NO.     I.-  THE     BIUDI.IT     MIKKOI 


late  Celtic  art  products  and 
designs,  will  have  little  trouble 
in  recognising  other  products 
ofthesame  school;  but  though 
possessing  certain  character- 
istics which  are  easily  recog- 
nisable, they  are  difficult  to 
explain  or  define.  The  pecu- 
liar decoration  consists  ot 
wavy  or  scroll  designs,  which 
have  been  called  trumpet- 
shaped,  from  their  resem- 
blance to  some  early  bronze 
trumpets  found  in  Ireland. 
"  It  often  takes  the  form  of  a 
recurring  spiral;  atother  times 
a  series  of  two  or  more  spiral 
linesstart  from  a  certain  point, 
going  off  to  a  similar  spiral." 
The  late  Mr.Romilly  Allen 
suggested  that  the  scroll-like 
designs  are  the  outcome  of 
conventional  ised  foliage. 
Cross-hatching,  shading  by 
lines  and  dots,  and  other  de- 
vices, were  used  to  heighten 


III.  -  I  HE  DESBOROUGH  MIRROR 


N".  II.  -  I  111,  W  VRDEN  MIRROR 


the  artistic  effect,  as  was  also 
enamelling. 

The  mirror.  No.  i..  was 
turned  up  by  aquarryman  at 
P.irdlip,  in  Gloucestershire, 
m  1879, and  is  photographed, 
by  permission,  from  a  plate 
in  Vol.V.  of  the  Transactions 
of  the  Bristol  and  Gloucester- 
shire Ardiaological  Society. 
KeiMiKiMA. Smith, Ksi].,r>..V. 
F.S.A.,  in  his  account  ol  the 
find,  in.  Irclucoiti^in,  describes 
it  thus:  "The  chief  piei  1  Ol 
grave   furniture    was   a    large 

bronze  mirror  of  exceptional 
beauty,  with  an  engraved 
back  and  moulded  handle  in 
the  best  late  Celtic  style.  It 
is  somewhat  oval  in  form,  the 
greater  diameter,  1  o|  inches, 
and  the  other, 9! inches.  1 
weight  is  vs!  ounces,  The 
Lack  i  s  practically  covi 
with  eccentric  scroll  -  work, 
with  a  filling  of  basket-work 


The    Connoisseur 


pattern,  and  there  is  a  "C"  scroll  affixed  to  both 
laces  just  above  the  junction  of  the  handle,  each 
enclosing  three  pairs  of  red  enamel  dots,  f  inch  in 
diameter.  The  handle  is  handsomely  moulded,  and 
its  curves  enriched  by  ribbed  lines,  while  the  oval 
terminal  encloses  a  moulding  in  which  are  set  two 
red  enamel  spots  on  either  face,  exactly  like  those  at 
the  opposite  side  of  the  handle.  In  all  these  sixteen 
settings  the  enamel  is  well  preserved  and  of  uniform 
colour,  while  in  one  case  the  surface  has  been  chipped 
and  a  sound  body  revealed  below." 

The  next  mirror,  No.  ii.,  was  found  about  six  miles 
south-east  of  Bedford  in  i860.  It  was  broken  in  two 
parts,  which  have  since  been  united.  It  is  shaped 
somewhat  like  a  kidney.  Its  diameter  is  i\  inches, 
and  its  looped  handle  3]  inches  long.  It  is  nothing 
like  so  perfect  in  condition  as  is  the  Birdlip  specimen. 
There  are  traces  of  red  enamel  in  the  disc  within  the 
terminal  loop  of  the  handle,  and  in  the  two  similar 
discsat  the  end  of  the  handle  on  the  back  of  the  mirror. 

It  was  not  until  the  year  190S,  during  excavations 
for  ironstone  at  Desborough,  in  Northamptonshire, 
that  the  most  perfect  specimen  yet  known  of  the  late 
Celtic  mirrors  was  unearthed,  No.  iii.  From  its 
excellent  state  of  preservation  we  may  conclude  that 
it  had  not  been  lost  or  thrown  away,  but  had  been 
carefully  wrapped  up  and  preserved  in  a  woman's 
grave.  It  is  now  in  the  Northampton  Museum,  and 
the  writer  is  indebted  to  the  Museum  authorities  for 
permission  to  photograph  it.  Mr.  Reginald  Smith 
describes  it  thus  : — "  The  front  and  handle  are  still 
covered  with  a  beautiful  green  patina,  but  the  engraved 
back  was  inadvisedly  cleaned  with  acid  in  removing 
some  spots  of  lime  deposit,  and  the  new  surface  has 
the  colour  and  lustre  of  old  gold,  though  it  is  gradu- 
ally becoming  bluish-green  again.  The  mirror  is 
practically  identical  with  that  found  at  Birdlip,  but  is 
in  better  condition,  and  though  without  enamel,  is  of 
somewhat  finer  execution.  It  is  of  kidney  form, 
with  a  major  axis  of  10^  inches,  and  height  of  about 
•9 \  inches;  the  finely  moulded  handle  projecting  over 
the  disc  and  measuring  altogether  6  inches.  Short 
arms,  in  one  piece  with  the  handle,  are  grooved  to 
hold  the  disc,  and  the  edging,  which  tapers  away  from 
the  handle,  is  fastened  to  it  by  means  of  rivets.  The 
handle  is  moulded  on  the  same  lines  as  the  Birdlip 
example,  and  the  trumpet-pattern  extension  which 
grips  the  plate  is  in  high  relief,  and  is  repeated  within 
the  oval  loop  at  the  end  of  the  handle.  The  back 
is  engraved  with  eccentric  scroll-work  of  the  usual 
character,  but  of  unusual  delicacy,  and  reference  to 
the  illustration  will  obviate  the  necessity  of  describing 
the  indescribable.  The  crescentic  loop  is  much  in 
evidence,  and  at  either  extremity  of  the   major  axis 


should  be  noticed  the  double  ring  enclosing  three 
segments.  The  surface  is  pitted  in  places,  the  bark 
as  much  as  the  front,  but  the  latter  has  still  a  beauti- 
ful polish." 

The  old  French  colour-print,  Girl  taking  Coffee,  is 

the   second   of   the   pair    by   Louis    Bonnet,    or    "  L. 

Marin,"  as  he  sometimes  chose  to  call 
Our  Plates         ,  .         ,,-  ,  •    ,         r  j 

himself,  to  which  reterence  was  made 

in  July.  Even  more  pleasing  is  the  pair  which  com- 
prises The  Shepherdess  and  The  Wood  Nymph,  by 
J.  R.  Smith,  after  S.  Woodford,  one  of  those  who 
worked  for  Boydell's  "  Shakespeare  Gallery."  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1S00, 
and  a  full  member  in  1807.  Van  l)yck:s  Portrait  oj 
the  Earl  of  Bristol  and  the  Duke  of  Bedford  is  a  most 
characteristic  specimen  of  the  great  artist's  dignified 
grouping,  the  original  being  in  the  collection  of  Earl 
Spencer,  at  Althorp.  George  Digby,  2nd  Earl  of 
Bristol,  one  of  those  who  opposed  the  attainder  of 
Strafford,  was  present  at  the  battle  of  Edgehill,  but 
resigned  his  command  owing  to  having  fallen  out  with 
Prince  Rupert.  In  1645  he  became  Lieut. -General 
of  the  Royalist  forces  north  of  the  Trent,  but  retired 
to  France  after  his  defeat  at  Carlisle  Sands.  After 
the  Restoration  he  returned  to  England,  where  he 
died  in  1677.  William  Russell,  1st  Duke  of  Bedford, 
held  Parliamentarian  views,  and  was  engaged  in  the 
siege  of  Sherborne  Castle.  The  year  after  Edgehill 
he  became  a  Royalist,  but  soon  returned  to  his  original 
faction.  He  survived  the  great  Civil  War  until  the 
year  1700,  having  been  born  in  1613.  Also  by  Van 
Dyck  is  the  Portrait  of  Lady  Wharton,  which  belongs 
to  the  Duke  of  I  levonshire,  as  does  also  the  beautiful 
unfinished  Portrait  of  Georgiana,  Countess  Spencer, 
and  her  daughter,  by  Sir  Joshua  Reynolds,  a  most 
interesting  study.  The  lady  was  wife  of  the  1st  Earl 
Spencer,  and  the  little  girl,  also  Georgiana,  who  was 
born  in  1757,  afterwards  married  the  5th  Duke  ol 
Devonshire,  as  was  recorded  in  our  last  issue,  when 
the  famous  Chatsworth  portrait  of  the  Duchess,  then 
herself  a  mother,  came  under  notice.  We  have 
reserved  the  drawing  of  The  Maid  of  Bath,  in  the 
collection  of  Mr.  John  Lane,  to  the  last  for  special 
mention.  It  is  an  interesting  specimen  of  the  earlier 
work  of  Ozias  Humphrey,  R.A.,  and  is  in  all  prob- 
ability a  portrait  of  Elizabeth  Ann  Linley,  afterwards 
Mrs.  Sheridan.  She  was  the  daughter  of  Thomas 
Linley,  senior,  the  well-known  Bath  musician,  whose 
children  were  described  by  a  contemporary  writer  as 
"a  nest  of  nightingales."  Miss  Linley  was  known  as 
"The  Maid  of  Bath,"  and  was  painted  many  times  by 
Humphrey,  who  used  to  lodge  with  her  father  what 
time  he  made  sojourn  in  the  city  of  Bladud. 


234 


A   Suggestion 


By   the    Editor 


The  end  of  the  war  may  not  yet  be  in  sight, 

but  before  its  finish  every  family,  every  hamlet  and 
town  throughout  the  Empire,  will  have  lost  many  of 
its  sons.  No  doubt,  to  commemorate  these,  memorials 
of  every  kind  will  be  erected,  such  as  costly  build- 
ings, triumphal  arches,  fountains,  statues,  obelisk.-, 
and  crosses  :  while  churches  will  be  enriched  by  gifts 
of  window-,  screens,  altars,  and  lectern-.  Tablets 
and  brasses  to  individuals  will  lie  further  multiplied. 
But  similar  thing-  are  gifted  in  peace,  and  may  be 
passed  by  un- 
i  g  n  i  s  e  d. 

So  stupen- 
dous. -  o 
epoch  -mak- 
ing an  event 
seems  to  de- 
man  d  so  m  e 
very  special 
mi  m  or  i  a  1. 
( > ii r  pre  sent 
prolonged 
life-and-death 
struggle  is  for 
i  eedom  t  o 
live  our  li> 
liberty  and 
progress. 
Against  usare 
the  powei  ol 
hell  and  of 
hate,  deter- 
mined lomur- 
d  er,  crush, 
rob.  ami  en- 
slave. The 
powers    o  t 

I  larkness  an 

once    nini  i  . 

let    us    hopi 


CHAND1 


for  the  last  time,  arrayed  in  deadly  earnest  against  the 
powers  of  Light,  and  light  must  prevail. 

There  is  thus  one  object  that  will  occur  to  all  as 
more  appropriate  than  any  other  to  commemorate 
this  direful  war.  Tin  sentiment  embodied  in  the 
LAMP  is  pure  and  poetic.  As  the  giver  of  light  in  the 
hours  of  darkness,  it  has  become  invested  with  a 
mystic  and  symbolic  aura,  standing  for  life,  hope, 
truth,  learning,  wisdom,  and  piety,  and  where  it  sh 
the  powers  of  evil  and  darkness  cannot   prevail.      To 

the  Egyptian 
Flame  was  a 
benel  i  c  e  n  t 
deity  re 
sented  by  the 
lamp.  The 
symbol  i  sm 
has  never 
been  lost  sight 
ol.  cither  in 
church,  mos- 
que, or  syna- 
gogue, and  it 
existed  in  the 
Creek  and 
Roman  Tem- 
ple. Flame  is 
seen  in  its 
terrible 

-  t  s  in  the 
light  n  i  ng's 

flash  ami  VI  il 
C  a  n  i  c  o  u  I 
burst,    a  n  d 

there 
a  w  e  s  I 
ma  ' 

us  iii  pri- 
mitive limes. 
It   1)  e  C  a  m  e 


AN      EIGH  i  1  1    RV      1  1.! 


The    Connoisseur 


? 


GILDED    WROUGHT-IRON    CHANDELIER    A  I      LOSEL'S 


feared,  and  a  thing  of  mystic  import.  Later  it  was 
in  ognised  as  a  purifier,  and  hence  the  funeral  pyre  ; 
and  Gehenna  as  a  place,  not  to  punish,  but  to  ren- 
der the  gross  and  material  body  fit  for  the  life  to 
i  mill'.  Flame-worship  was  ever  to  propitiate  and 
placate  the  great  purifier,  and  lastly  became  the  em- 
blem of  the  Holy  Guardian  Spirit  and  Everlasting 
Life. 

Tbe  light-holder  may  be  of  colossal  si/e,  like  the 
old  Pharos  and  our  lighthouses,  and  in  antiquity  they 
must  have  been  beautiful  and  stately  objects.  The 
gold  lamp  of  Callimachus  on  the  Acropolis  burnt 
night  and  day  without  refilling  for  a  year,  and  above 
it  was  a  bronze  palm-tree  which  rose  to  the  roof  of 
the  Erectheum.  Dionysius  placed  a  bronze  lamp 
stand  in   Tarentum  which   held   365    lamps,  one  for 


each  day  of  the  year.  Pliny  speaks  of  pendant  lamps 
in  the  form  of  trees  loaded  with  fruit,  such  as  the 
famous  example  taken  by  Alexander  at  the  sacking  of 
Thebes,  which  subsequently  found  its  way  to  the 
temple  of  Apollo  on  the  Palatine,  dedicated  to 
Augustus.  A  very  beautiful  Etruscan  example,  set 
round  with  sixteen  nozzles,  was  found  at  Cortona. 
The  bronze  tripods,  called  Delphinian,  and  mentioned 
by  Pliny,  and  some  of  the  great  marble  tripods  and 
candelabra  found  in  Rome,  are  stately  objects.  The 
It. than  churches  still  abound  with  superbly  modelled 
tripods  of  bronze  for  lamps  and  candles  modelled  on 
these. 

Noteworthy  examples  of  hanging  lamps  and  lan- 
terns, some  of  high  antiquity,  exist  at  Venice,  Pisa, 
etc., and  there  still  remain  two  of  the  great  suspended 


236 


IVar   Memorials:   A 


Suggestion 


coronas,  symbolisingthe  heavenly  Jerusalem,  at  Hildes- 

heim  and  Aix-la-Chapelle.  These  votive  coronas 
were  in  early  days  of  immense  size  and  elaboration. 
One  at  Bayeux,  presented  by  Odo,  brother 
of  the  Conqueror,  was  in  the  form  of  bands, 
sixteen  feet  in  diameter,  carrying  tower- 
like lanterns  with  statues  of  saints.  The 
material  was  copper,  gilt  and  enamelled, 
and  overlaid  in  part  with  silver,  inscribed 
with  forty-eight  Latin  verses.  It  held  a 
large  number  of  wax  candles,  and  was  de- 
stroyed by  the  Huguenots  in  1562.  The 
seven-branched  candelabra  were  also  ol 
monumental  proportions.  One  at  Rheims 
was  eighteen  feet  high,  and  measured  fif- 
teen feet  across  the  branches.  It  was  of 
the  rich  and  elaborate  interlacing  work, 
in  which  much  symbolism  is  involved,  of 
the  latter  part  of  the  eleventh  century, 
enriched  with  crystals  which  reflected  the 
lights  from  the  larger  candles  held  in  basins 
at  the  extremities  of  the  branches.  It  was 
destroyed  in  the  French  revolution,  but 
a  very  interesting  fragment  remained  at 
Rheims  Cathedral,  perhaps  now  too  de- 
stroyed by  more  ferocious  Kultur.  The 
description  of  an  even  more  sumptuous 
example,  also  eighteen  feet  high,  at  Cluny, 
glistening  with  gold,  crystal,  and  beryl,  has 
been  preserved.  It  was  inscribed  with 
leonine  verses,  and  is  supposed  to  have 
been  presented  by  Matilda,  wile  of  the 
Conqueror.  The  base  of  .1  line  specimen 
is  preserved  in  Milan  Cathedral,  but  with 
an  upper  part  made  in 
Italy  at  a  later  date.  A 
plain  but  complete  exam- 
ple remains  at  Essen,  but 
ui  relatively  later  date  and 
small  dimensions.  Ali 
1  ordi  dan  1  clipsed 

in  si/e  by  the  colossal  and 

richly  worked  bronze 
seven- branched  candela- 
brum of  1  Uirham,  which 
a.i  almost  as  wiili-  and 
high  as  tli-  choir  of  tin; 
cathedral  in  which  it 
i.  It  comprised,  like 
;n'  1  -    ! .  1 1  'j .  1 1 '    "i'l 

saints,  etc.,  1  'I  deep  sym- 
bolic import.  Several 
votive  coronas  dedi- 
cated in  the  1  Inlv  Virgin 


mm 

mm 


ft  1  "a 


WROUGHT-IRON    LAMP    \l   CHELSEA   IIOSPI1  M 


and  patron  saints,  and  others  of  late  mediaeval  date, 
are  safely  preserved  in  Germany;  but  others  of  far 
greater  interest  and  liner  workmanship  which  exis 

in  Belgium,  chef  -  d'eeuvres  in  iron  by 
famous  smiths,  may  have  shared  in  the 
ruthless  destruction  of  its  noble  monu- 
ments. All  these,  ranging  over  a  long 
interval  of  time,  not  only  served  to  give 
light,  but  to  keep  in  remembrance  the 
hope  of  eternal  life  and  of  salvation.  In 
England  ill-timed  puritanical  zeal  has 
swept  the  churches  bare,  but  even  the 
heavy  brass  chandeliers  of  the  seventeenth 
and  eighteenth  centuries  which  took  the 
place  Dt  those  destroyed  were  put  upas 
memorials  and  inscribed,  am  ntly 

hang  from   finely  decorative  iron   chains. 
The-  ancient   tradition   that    light-hold 
should  be  artistic,  and  even  magnificent 
objects,  prevailed,  in  fact,  till  the  early  pi 
of  the  nineteenth  century,  as  seen  m  silver, 
ormolu,  and  gilded  wood  chandeliers  and 
sconces,  the  crystal  lustres,  and  bronzes  of 
the  Stuart  and  Hanoverian  mi  man  hs.  The 
introduction  of  gas  for  lighting  and  an  ex- 
pansive "free  trade"  killed  the  old  senti 
ment,  which  is  only   beginning  to  re 
owing  to  the  greater  adaptability  of  1 
tricity.  Hence  our  cathedrals  and  churches 
are  lighted,  especially  ifgasisthe  medium. 
)V  skimpy  meretricious  fittings  made  in 
Birmingham. 

It  must  fall  to  others  to  design  monu- 
mental  lamps   worthy  the  occasion.     All 
that  we  can  do  here  is  tO 
notice  some  lew  examples 
of  lamps  that  exist.     Very 
dignified  and  monui 
tal  lamps  were  fixed  to  the 
1  if  palaces  in  some 
lew  towns  ni    N01 
Italy,  notably  11    ! 
where  tin  1.   are       0  well- 
designed   bronze  t< 
Imlilers.      Lantern 
candle-holdcrsare  happily 

tomb-rails,  and  church. 
screens.  The  great  hang- 
ing cross   in  the  dome  ol 

St.  Mark's,  Venice,  with 
iis   multitude  ol  lamps. 

a  n  il    the    SUS  p  e  n  ded 


237 


The   Connoisseur 


li\  angels,  weighing  over  a  ton,  and  ever  memorable 
as  suggesting  the  movements  of  the  pendulum  to 
Galileo,  are  important  and  suggestive  examples.  A 
sketch  of  this,  correcting  the  effect  of  perspective  in 
published  photographs,  is  here  given. 

An  even  liner  French  example,  from  a  drawing  in 
the  Victoria  and  Albert  Museum,  is  also  repro- 
>lii'  ed.  Of  more  immediate  interest,  perhaps,  is 
the  great  iron  lamp-post  and  lantern  designed  by 
Wren  for  Chelsea  Hospital.     Two  of  these  stood  at  a 


suitable  distance  to  the  right  and  left  of  the  extreme 
limits  of  the  facade,  and  resemble  somewhat  in 
outline  the  contemporary  lighthouse.  They  were  of 
monumental  size,  some  twenty  feet  in  height,  and 
perfectly  unique,  I  icing  in  wrought  iron.  Another 
interesting,  little  known,  and  unique  specimen  of 
English  wrought  ironwork  is  the  gilt  chandelier  at 
Losely,  with  its  delicately  fashioned  flowers  and 
wheat-ears.  Both  of  these  are  illustrated  for  the 
first   time. 


■  /.[■:     LAMP    IN     ]'I-  \     CATlII.I'l    M 


THE    MAID   OF    BATH. 

FROM    A    DRAWING    BY    OZ1AS    HUMPHREY. 

In  the  Collection  of  Joint  Lane. 


"  Chats  on  Japan- 
ese Prints,"  by 
Arthur  Davidson 
Ficke.     (T.Fisher 
Unwin.     5s.  net) 


That  Mr.  Ficke's  Chats  on  Japanese  Prints  does  not 

cover  all  portions  of  his  subject  with  the  same  adequacy 
may  be  ascribed  rather  to  an  excess 
than  a  deficiency  of  knowledge  on 
the  part  of  the  writer.  He  is  a  col- 
lector, and,  one  suspects,  is  affected 
with  a  collector's  predilections  in 
favour  of  styles  and  periods  of  art 
w  hich  coincide  most  happily  with  his  personal  sympathies. 
In  Mr.  Ficke's  case  these  appear  to  lean  towards  those 
artist--  who  flourished  in  the  last  half  of  the  eighteenth 
century,  about  two-thirds  of  his  criticism  being  de\ 
to  the  consideration  of  the  men  who  flourished  between 
1764  and  1806.  One  might  also  demur  to  his  classifica- 
tion of  the  different  periods.  He  cannot  be  considered 
responsible  for  christening  the  artists  who  worked  be- 
tween 1660  and  1 7114  as  "the  Primitives,''  yet,  as  he 
himself  tacitly  confesses,  this  "commonly  accepted 
name  "  is  highly  misleading.  It  creates  the  impre 
that  it  refers  to  "designers  in  whose  works  are  to  be 
found  the  naive  efforts  of  unsophisticating  and  group- 
ing minds.  Nothing  could  be  further  from  the  truth 
ands  of  years  of  artistic  experience  and  tradition 
lay  back  of  these  production-  :  ami  the  level  of  aesthetic 
sophistication  implied  in  them  was  high/'  Even  in  the 
technique  of  wood  engraving  these  men  were  not  begin 
ners,  for  wood  1  n  ,».i  in  ;  appears  to  have  been  prai 
m  fapa  1   the  thirteenth  century.     The  hundred  and 

odd  years  included  in  the  so-called  primitive  period  was 
a  time  in  which  many  of  the  greatest  Jap  igners 

hed.      "To   an   extent    greater   than   the   arti 
an;      ticceeding    period    the)    1       1  1  1    ■       ol 

detail  and  accuracy  ol  repn  sentation,  sacrificing  these 
thing-  lor  tip-  sake  of  achieving  bro.nl  decorative  effects 

combined  with  vig 1-  movement."     With  th 

Mr.  Ficke  is  in  full  sympathy.  He  1  an  -  cellenl 
account  of  Moronobu,  who  practically  tra  I  wood 

engraving  from  a  craft  mto  an  art ;  i  Ikumura  Mansanobu, 
who  is  credited  with  having  invented  printing  in  pol)  - 
chrome,    ami    [shikawa  Toyonobu,  whose   name-,  hardly 


mentioned  in  early  works  on  the  subject,  owing  to  fresh 
discoveries  of  his  work   has   lately   been  elevated 
position  of  honour.     The  other  masters  and  mini 
of  the  period  are  also  adequately  treated.      Mr.  Fi 
second  period  is  that  of  the  early  polychrome  masters, 
and  only  extends  from  1704  to  [780,  the  last  named  date 
marking  the  retirement  of  Katsukawa  Shunso,  who.  with 
his  great  rival  Susuki  Harunobu,  first  exemplified  in  his 
work  the   artistic  possibilities  of  colour   printing.     The 
next  period,  1780  to   1790.  synchronises  with  the  < 
years  of  the  career  of  Torii  Kiyonaga,  from  whose  n 
ment  the  author  dates  the  period  of  dei  adence.     This  is 
bringing  the  palmy  period  of  Japanese  ait  to  within  un- 
duly narrow  limits,  more  especially  as  Mr.  Ficke  allov 
the  period  of  decadence  only  sixteen  years,  and  includes 
all  the  work  that  has  been  produced  since  [806  under  the 
heading  of  "The  Downfall."     It   must   be   remembered 
that    during    this    last    period,       1  >usly    titled. 

some  of  the  best-known  designers  of  Japan  flourished, 
and  that  landscape  art.  in  the  prints  of  Hiroshige  and 
Hokusai,  attained  its  highest  level.  To  the  lattei 
the  author  scarcely  doc-,  adequate  justii  e,  but  the  genius 
of  Hiroshige,  "whose  work"  remain--  perhaps  the 
complete  and  magnificent  landscape  record  that  .my  land 
has  evei  had,  is  fully  appreciated.      If  one  has  paid  undue 

on    0    VIi     !  ■  system  ol 

partly  because  the    -  1      ellem  e  ol  the  rest  of  the 

work  appeared  to  warrant  a  higl  ci  ticism 

than  i-  usually  applied  to  book-  ol  a   popular  chat 
It   1^   no   men-  compilation   from   earlier  authorities, 
an  original  contribution  to  the   literature  of  the   sub 
written  by  one  who  has  made  il  a  special  studj 
the  author  is  perhaps  inclined  to  over-estimate  tin 
tivc  importam  e  of  the  earlier  pi 
matte  more  than  ol 

la     '  reliable  cicerone  to  the  work  ol  the 

masters  as  well  as  the  earlier.     The  book  ful 
its  title  to  I"'  "1   prai  tii  a        lide  for  the  '  and 

be  recommended  as  a  valuabli  every- 

one interested  in  Jap        1      1  nts, 


-P 


The    Connoisseur 


ciatc  Prints,"  by 
Frank  Weiten- 
kampf.     Second 
and  Revised 
Edition.     (Grant 
Richards  Ltd. 
7s.  6d.  net) 


Tin-  reader  has,  at  first,  some  difficulty  in  discovering 
the  revisions  which  mark  the  second  edition  of  Mr.  Frank 
Weitenkampf's  Hois  to  Appreciate 
Prints.  One  would  hazard  the  guess 
tliat  they  have  been  restricted  to  the 
narrowest  dimensions  possible  in 
order  to  avoid  any  material  resetting 
of  the  old  type.  A  few  foot-notes 
have  been  added  at  the  feet  of 
various  pages,  and  in  one  or  two 
places  criticisms  of  various  modern 
engravers  have  been  curtailed  in  order  to  allow  mention 
of  men  whose  rise  to  fame  is  still  more  recent.  Thus, 
on  page  42,  seven  lines  have  been  bodily  subtracted 
from  the  description  of  Mr.  Joseph  PennelPs  etchings, 
and  the  space  thus  gained  is  divided  between  Frank 
Hrangwyn,  D.  V.  Cameron,  Muirhead  Bone,  and  James 
McBey,  whose  work  was  not  mentioned  in  the  earlier 
edition.  Such  a  method  of  revision  can  make  no 
approach  to  completeness,  and  it  may  be  questioned 
whether  Mr.  YVeitenkampf  would  not  have  done  better 
to  leave  his  work  in  its  original  state,  for  now,  while  one 
or  two  portions  of  it  are  brought  more  or  less  up-to-date 
to  1 91 5,  the  greater  part  of  it  has  advanced  no  further 
than  1908,  the  year  of  its  original  issue.  In  its  general 
survey  of  the  theory  of  artistic  print  collecting,  few  works 
are  written  with  more  knowledge,  or  are  more  interesting 
or  clearly  expressed.  On  American  engravers  it  is  espe- 
cially well  informed,  a  natural  characteristic  of  a  work 
written  by  an  American  primarily  for  American  readers. 
Every  method  of  engraving  and  the  best  work  executed 
in  it  are  described,  including  lithography — on  which  there 
is  an  excellent  chapter — wood  engraving,  and  even  photo- 
gravure. Almost  invariably  Mr.  Weitenkampf  may 
be  taken  as  a  thoroughly  reliable  guide,  but  there  are 
a  tew  occasions  on  which  he  makes  slips— generally  of 
minor  importance.  The  most  important  is  on  page  86, 
where  he  speaks  of  "the  introduction  of  steel  plates, 
about  1820,  and  steel  facing."  The  latter  process — that 
of  giving  copper-plates  the  same  durability  as  steel  by 
covering  them  with  a  thin  deposit  of  the  latter  metal — 
did  not  come  into  use  until  a  full  half  century  after  the 
date  named,  and  its  introduction  entirely  revolutionised 
the  prevailing  methods  of  engraving.  Early  in  the 
nineteenth  century  the  necessity  of  issuing  large  editions 
of  engravings  to  make  them  commercial  successes 
gradually  drove  copper-plates  out  of  general  use,  for 
copper,  being  a  soft  metal,  would  only  print  a  relatively 
small  number  of  good  impressions.  As  it  is  almost 
impossible  to  engrave  in  pure  mezzotint  on  steel,  this 
caused  the  temporary  extinction  of  the  method  and  the 
introduction  of  the  mixed  style,  so  much  practised  by 
Cousins  during  his  later  years,  "in  which  etching, 
roulette,  stipple  and  burin  work"  were  all  introduced. 
When,  some  time  about  the  eighties,  steel  facing  was 
introduced,  pure  mezzotint  could  once  more  be  practised, 
the  coating  of  steel  being  applied  to  the  copper  after  the 
actual  engraving  has  been  completed.  Thus  the  revival 
of  mezzotint  and  of  reproductive  etching  dates  from  the 
early  eighties,   the  introduction  of  artistic  photogravure 


dates  from  about  the  same  time,  and  the  three  methods 
between  them  have  practically  superseded  the  mixed 
style  of  engraving.  Mr.  Weitenkampf  is  thus  hardly 
correct  in  suggesting  that  mezzotint  has  "suffered  from 
the  rapid  and  enormous  development  of  that  photo- 
mechanical process  known  as  photogravure/  for  the 
modern  revival  of  the  former  method  synchronised  with 
the  introduction  of  the  process,  and  for  all  the  best 
reproductive  work  is  gradually  replacing  it.  The  author, 
however,  does  not  appear  to  have  followed  recent 
developments  in  mezzotint,  either  printed  in  monochrome 
or  colours,  and  adds  not  a  word  to  what  he  wrote  in  the 
first  edition  of  his  book.  In  writing  on  Cousins  he  gives 
titles  which  do  not  appear  on  the  original  editions  of  his 
plates.  Thus  he  speaks  of  Boyhood's  Reverie  {Master 
Lambton) ;  the  name  given  in  brackets  is  correct,  the 
other  only  appearing  on  the  plate  when  it  was  first  re- 
printed. In  the  same  way  he  writes  of  the  Bud  of  Promise, 
which  is  the  name  given  to  a  late  and  artistically  worthless 
reprint  of  Miss  Peel.  Mr.  Weitenkampf,  however, 
largely  disarms  criticism  on  the  historical  aspect  of  his 
work  by  pointing  out  that  it  "aims  to  be  a  guide  to 
appreciation,  not  a  history.''  It  admirably  fulfils  its 
intended  purpose,  and  there  are  few  books  better  fitted 
to  instruct  the  amateur  as  to  the  technicalities  of  the 
different  methods  of  engraving,  their  various  excellencies 
and  defects,  and  the  merits  of  their  principal  exponents. 

An  index  to  periodicals  appears  to  be  such  an  absolute 
necessity  to  those  who  wish  to  keep  in  touch  with  current 
opinion,  that  one  can  only  wonder 
"Index  to  Periodi-  why  the  admirable  publication 
cals.  A  Classified  arranged  by  Mr.  A.  Cecil  Piper  and 
and  Annotated  edited    by  Mr.  Alex.   J.    Philip  has 

Index  to  the  not  long  ago  been  anticipated.     A 

Original  Articles        sjmilar  publication  has  been  issued 

contained  in  the  ,  .,         .,  ■  , 

,  tor  several  years  on  the  other  side 
1 ' n  n   1  p  1 1  Vv  ccklv 

„.       ,  ,  ,  of  the  Atlantic.     Though  primarily 

Monthly,  and  ,    ,       ,         .       "     v  ,  . 

,-.  (     n     •    j-  arranged  for  American  readers,  its 

Quarterly  reriodi-  ° 

,    ,,     /C.       ,  utility  to  the  few  English  students 
cals.        (Stanley 

who  were  aware  of  its  existence  has 

been  undeniable,  and  the  present 
venture,  which  embodies  several 
improvements  in  arrangement  and  contains  a  list  of  sub- 
jects more  in  accordance  with  our  insular  requirements, 
should  meet  with  substantial  support.  It  was  originally 
intended  to  include  leading  continental  journals  within 
the  scope  of  the  index,  but  the  war  prevented  this  idea 
from  being  carried  out.  and  so  the  first  issue  of  the  publi- 
cation is  concerned  only  with  English  and  American 
magazines  for  the  half-year  ending  September,  191 4. 
This  does  not,  at  first  sight,  appear  a  very  formidable 
undertaking,  but  when  it  is  stated  that  the  magazines 
indexed  number  over  a  hundred,  and  the  articles  recorded 
to  between  three  and  four  thousand,  it  will  be  seen  that 
the  compilation  is  one  that  has  entailed  considerable 
labour,  while  the  thorough  manner  in  which  it  has  been 
carried  out  does  great  credit  to  those  concerned.  The 
titles  of  the  articles  have  been  systematically  arranged 
under  generic  headings,  they  are  also  separately  indexed, 


Paul  and  Co 
£1   is.  net) 


242 


The    Connoisseur   Bookshelf 


and  an  index  of  authors  is  given,  so  that  the  whereabouts 
of  all  articles  bearing  on  any  subiect,  or  by  any  author, 
or  of  any  individual  article,  can  instantly  be  traced.  The 
only  improvement  which  may  be  suggested  for  future 
issues  is  that  for  the  list  of  magazines  indexed  the 
address  or  town  of  publication  of  each  should  be  given. 

SO  many  works  on  furniture  have  been  written  that  it 
is   necessary  for  the  critic  to  regard  a  newcomer   with 

somewhat   jealous   scrutiny.      To 
ntique     urn«-        justify  its  entrance  into  a  section  of 
ture,     by  Fred.  W.     ',-  ,  ■   ,    .       ,        ,  ,    , 

„  ,r.  literature  which  is  already  crowded. 

Burgess,    (ueorge  ,       ,  ,      .   .  .  .     , 

r>       i    f       o  o  't  should  either  contain  entirely 

Koutledge  &  Sons,     c 

T    ,  ..        ,.       tresh  knowledge  or  enibodv  know- 

Ltd.     7s.  6d.  net)  ° 

ledge  already  existing  in  a  more 

concise,  comprehensible,  or  interesting  form.  Mr.  Fred 
W.  Burgess  would  probably  not  claim  the  first  of  these 
attractions  for  his  Antique  Furniture,  for  nothing  that  he 
tells  us  in  it  has  not  been  said  before.  The  question 
therefore  remains  :  does  his  painstaking  compilation  of 
already  well-known  facts  enable  the  reader  to  better 
understand  them  and  appreciate  their  connection  with 
one  another?  A  glance  over  the  volume  reveals  that  the 
illustrations,  of  which  there  are  one  hundred  and  twenty- 
six,  do  not  help  to  elucidate  a  large  number  of  the  styles 
and  periods  covered  by  the  text.  Mr.  Burgess  carries 
the  scope  of  his  survey  from  the  furniture  of  ancient 
Egypt  to  that  of  the  early  Victorian  period.  The  earliest 
types  illustrated  are  Tudor:  asingle  Louis  XVI.  secretaire 
does  duty  for  the  whole  range  of  French  furniture,  while 
the  examples  selected  include  far  too  many  pieces  neither 
typical  nor  particularly  noteworthy  in  other  respects. 
Turning  to  Mr.  Burgess's  letterpress,  one  finds  that  he 
writes  in  an  interesting  manner,  but  hardly  bears  out  the 
promise  contained  in  the  preface,  '"to  confine  myself  to 
what  is  calculated  to  be  of  real  service  to  my  readers." 
The  stories  of  the  financial  speculations  of  the  brothers 
Adam  with  the  Adelphi,  the  Coronation  chair  in  West- 
minster Abbey,  the  lengthy  accounts  of  the  careers  of 
Chippendale  and  Sheraton,  and  the  copious  extracts 
from  books  on  furniture  design  by  various  makers,  may 
all  be  interesting  to  a  reader  not  already  ai  quainted  with 
them,  but  they  are  not  likely  to  assist  him  materially  in 
the  knowledge  or  appreciation  of  furniture  styles.  In 
the  more  practical  pans  of  his  book  Mr.  Burgess  is 
generally  rather  vague  and  sometimes  actuall)  ' 
leading.  On  page  [48  he  states  :  "Connoisseurs  do  not 
always  take  into  account  sufficiently  the  influence  archi- 
tects exerted  over  the  furniture  trade  during  the  first  hall 
of  the  eighteenth  century.  At  that  time  they  were  very 
active,  such  men  as  Adam  and  Kent  being  destined  to 
exert  a  far-reaching  influence."  As  Adam,  al  tin  clo  1 
of  "the  first  half  of  the  eighteenth  century.'  had  not 
completed  his  education  ai  Edinburgh  University,  In, 
architectural  activity  during  that  period  must  have  been 
what  ofa  precocious  nature.  Kent  is  recommended 
as  drawing  from  the  pen  of  Horace  Walpole  many  eulo- 
giums,  of  which  one  isquoted.  I  lad  Mr.  Burgess  continued 
the  quotation  to  the  end,  he  would  have  found  WaJp 
remarks  were  conceived  in  a  spirit  of  irony,      lie   . 


to  Chippendale  as  an  original  designer  a  much   more  im- 
portant role  in  the  development  of  English  furniture  than 
recent  authorities  are  apt  to  assign  to  him.  and  fa 
mention  the  great  majority  of  famous  foreign  designers. 
even  when,  as  in  the  'aniel  Marot,  they  exercised 

a  profound  influence  on  contemporary  English  work.  It 
is,  of  course,  impossible  to  put  in  everything  in  a  volume 
of  this  size,  but  Mr.  Burgess  can  hardly  be  acquitted  for 
his  omissions  on  the  plea  of  want  of  space,  as  he  includes 
so  much  that  is  really  unessential.  His  work  has  the 
appearance  of  being  written  by  one  who  has  got  up  his 
subject  rather  than  thoroughly  mastered  it.  A  descriptive 
list  of  woods  used  by  the  cabinet-maker  and  a  glossary  of 
technical  terms  are  moderately  well  compiled,  but  the 
former  contains  the  statement  that  "although  not  intro- 
duced into  this  country  until  1 595,  mahogany  soon  became 
the  favourite  wood  of  the  cabinet-maker,"  whereas  it  was 
hardly  used  at  all  until  well  over  a  century  after  its 
introduction;  and  the  latter  informs  us  that  "a  ioint- 
stool  was  a  high  stool  usually  used  by  carvers  in  1 
up  a  joint  at  table,"  whereas  its  true  derivation  is  from 
"joined-stool,"  or  stool  with  joints. 

Discoveries  of  lost  masterpieces  of  painting  .u' 

infrequent,  and  occasionally  an   original,   not   known   to 

have   been   lost,   turns    up   and 

"  Monograph  on  ,                                        ..          ,  ■   ,     , 

T              7  places  a   copy  or  replica  which   has 

Leonardo  da  , .          .      .         , 

,r.     .,     ...  been  masquerading   in  us  place 

Vinci  s     Mona  ' 

j.      , ,,  ,  Mr.  John  K.   Eyres  monograph  on 

t„u_  ip    c  Leonardo's  Mona  Lisa  is  intended 

John   K.   tyre 

(H.  Grevel  &  Co.     '"  Prove  tllaI  sometning  like  this  has 
5s    net>  happened  in   regard   to  this  famous 

portrait.  The  recorded  hist' 
the  version  at  the  Louvre  is  far  from  clear  during  the 
interval  between  leaving  the  painter's  studio  at  IT 
and  its  appearance  in  the  collection  of  Francis  1.  The 
mam  facts,  briefly  capitulated,  are  as  follows:  V'asari 
states  that  the  picture  of  Mona  Lisa  was  painted  for  her 
husband.  Frances  del  Giocondo,  and  that  Leonardo 
worked  four  years  on  it  without  completing  it.  The 
generally  accepted  ii   1  that  the  artist  delivered 

the  work  to  1 do  in  its  unfinished   state  in   150401' 

1505,   in   the   latter  of  which   years   he  left   Flo 
Rome.    The  picture  was  then  lost  sight  of  for  o\  er  twenty 
'     .  when  it,   or  another  version,   was  bought  by  the 
King  of  France,  either  from   Leonardo  01  his  executors, 
and    is   now   at   the  Louvre.      This  has  hitherto 
generallj   accepted  as  the  only  version  of  Mona 
painted  by  Leonardo.     Lately  another  rendering  of  the 

•  ha     been  disi  11    Isle  worth,  in  « 

or  two  well  known  clitics  havi     i  ed  the  personal 

'  'i  the  master.     It  is,  al  any  rate,  not  an  1 
copy  of  the  Lo 
important    variations.       The    expression    of  the    fa 

11 ■    mournful;    the    background,    which    is    wholly 

different  in  composition,  is  unfinished  ;  and  the  figure  ol 

uned  between  a  I  upright  p 

This  work,  then,  answers  to   Vasari's  description  of  the 
Mono  Lisa  being  left  unfinished,  and  it  also  corres] 
fai    more  closely  with   Raphael's  sketch  ol  the  51 


«43 


The    C  onnoisscur 


now  in  the  Louvre,  the  pillars  being  a  noteworthy 
feature  of  the  latter.  Mr.  Eyre  has  chiefly  devoted  his 
monograph  to  showing  that  it  is  not  only  possible  but 
extremely  likely  that  Leonardo  painted  two  versions  of 
the  subject,  one  of  which,  still  unfinished,  was  delivered 
to  i  lioi  ondo,  and  the  other  taken  by  the  artist  to  France 
and  completed  there  towards  the  i  lose  of  his  career. 
The  author  has  shown  indefatigable  industry  in  accu- 
mulating evidence  on  this  point,  and  makes  out  a  strong 
i  ase  for  his  contention.  It  would  have  read  more  con- 
vincingly if  he  had  allowed  his  facts  to  speak  more  for 
themselves  ;  he  is  apt  to  try  to  prove  too  much  and  weary 
the  reader  with  a  superfluity  of  argument.  Whether  the 
Louvre  Mona  Lisa  is  Leonardo's  first  or  second  version 
"l  the  subject  does  not  affect  its  greatness  as  a  work  of 
art,  and  a  depreciation  of  its  merits  in  no  way  helps  to 
establish  the  authenticity  of  the  Isleworth  picture.  The 
latter  must  stand  or  fall  on  its  own  merits,  and  most 
readers  of  Mr.  Eyre's  monograph  will  suspend  their 
judgment  concerning  it  until  it  has  been  submitted  foi 
examination  to  leading  experts  on  Leonardo's  work. 

One  of  the  most  difficult  of  tasks  is  to  trace  the  identity 
of  personages  represented  in  an  "  old  master  "  of  whom 
no  definite  record  has  been   kept. 


If  such  a  work  be  famous,  apocry- 
phal legends  gather  about  it  which, 
after  the  lapse  of  centuries,  it  is 
impossible  to  substantiate  and 
almost  impossible  to  disprove.  The 
investigator  may  follow  a  hundred 


"The  Goldsmith 
and  the  Young 
Couple,  or  the 
Legend  of  St.  Eloy 
and  St.  Godeberta, 
by  Petrus  Chris- 
tus,"byH.  Clifford 
S  nith   FSA  promising  clues  which  appear  to  lead 

(Bernard  t0  discovery,   and   find  that  every- 

Quaritch  6s  net)  one  ends  in  a  blind  alley  ;  hence  in 
research  of  this  kind  an  immense 
amount  of  labour  will  often  produce  little  tangible  result. 
A  case  in  point  is  afforded  by  Mr.  H.  Clifford  Smith's 
investigation  of  the  well-known  picture  by  Petrus  Christus, 
known  as  The  Legend  of  St.  Eloy  and  St.  Godeberta,  in 
the  collection  of  the  late  Baron  Albert  von  Oppenheim. 
The  work,  which  is  on  panel,  4  ft.  3  in.  by  3  ft.  10  in.,  is 
signed  by  the  artist,  and  dated  1449.  It  represents  a 
goldsmith  selling  a  ringto  a  young  couple.  The  costumes, 
jewels,  and  all  the  contents  of  the  shop  are  painted  with 
wonderful  minuteness,  while  on  the  counter  in  front  of 
the  goldsmith  is  represented  a  convex  mirror,  in  which 
are  reflected  two  men  walking  in  the  street  outside. 
The  head  of  the  goldsmith  is  encircled  by  a  halo,  which, 
if  painted  by  the  artist,  would  do  much  to  establish  the 
present  title  of  the  work,  but  there  is  a  strong  probability 
that  it  was  added  posthumously.  Mr.  Clifford  Smith,  in  his 
endeavour  to  throw  light  on  the  theme  of  the  picture,  has 
patiently  described  all  the  multitudinous  details  recorded 


therein.  He  is  thus  able  to  tell  us  the  character  and 
significance  of  every  jewel,  utensil,  or  garment  depicted, 
and  incidentally  to  make  the  reader  acquainted  with 
much  interesting  mediaeval  goldsmith's  lore.  On  the 
identity  ot  the  figures  he  has  been  able  to  throw  a  little 
light.  The  chief  discovery  he  contributes  is  that  the 
pendant  worn  by  the  young  man  is  the  badge  oi  the 
contemporary  dukes  of  Guelders,  and  thus  shows  that 
he  was  connected  with  them,  though  from  his  age  he 
could  not  have  been  either  the  reigning  duke  or  his  son. 
One  of  the  figures  represented  in  the  looking-glass  weai 
the  collar  of  the  Order  of  the  Golden  Fleece,  and  thus, 
as  he  cannot  be  identified  with  the  then  patron  of  the 
Order,  Duke  Philip  the  Good,  he  must  be  one  of  the 
twenty-nine  contemporary  members.  His  companion 
carries  a  falcon,  and  Mr.  Clifford  Smith  suggests  that  he- 
may  be  Henry  Van  Eyck,  the  then  falconer  to  Duke 
Philip.  Unless  some  fresh  documentary  evidence  turns 
up,  as  in  the  case  of  Holbein's  Ambassadors,  it  appears 
unlikely  that  much  further  light  can  be  thrown  on  the 
picture.  Mr.  Clifford  Smith  in  his  painstaking  brochure 
has  at  least  thoroughly  cleared  the  ground  for  any  future 
investigators,  and  by  clearly  defining  the  limits  in  which 
the  identities  of  the  personages  depicted  must  be  sought, 
has  reduced  the  chances  of  a  false  attribution  to  a 
minimum. 

In  his  brochure,  subtitled  .  /  Description  and  Histot 
Sketch  of  the  Memoir  of  the  Seigniory  of  de  Beaujeu,  Mr. 
W.  D.  Lighthall,   who  is  presidenl 
"The  Manor  of  the  Antiquarian  and  Numismatic 

House  of  Lacolle,"     Society  of  Montreal,   gives  an   in- 
by   W.  D.  Light-  teresting  account  of  the  vicissitudes 

'     '      '    '       .  which   have   attended   this    rein    ol 

(Privately  printed        ,  ,    _         ,     „         ,         ,r, 
.      /-.    >     ■«*       ,  old   French  Canada.      I  he  manor- 

by  C.  A.  March-        ,  ,     .,    .       . 

.    „„  ,.  house  in  question  was  built  in  1025 

and,  Mont^al)  '  T,      , 

by  Mrs.  Henry  Hoyle,  and  is  situ- 
ated about  four  miles  south-west  of  Lacolle  village  and 
about  forty  miles  from  Montreal.  Mrs.  Hoyle,  who 
by  a  former  marriage  had  become  the  wife  of  Major 
Schuyler,  had  inherited  her  large  fortune  from  her 
grand  -  uncle,  Lieutenant  -  General  Garret  Fisher,  or 
Visscher,  a  loyalist  officer  who  was  present  at  the  taking 
of  Montreal.  After  the  death  of  Major  Schuyler,  the 
history  of  the  family  becomes  merged  in  a  sorry  tale  of 
disputes  between  the  children  of  Mrs.  Hoyle  by  both 
marriages,  the  lady  herself,  and  her  second  husband. 
The  last  co-Seigneuresse  of  Lacolle,  Mrs.  Mary  Averill 
Hoyle,  died  early  in  1914.  The  remainder  of  the 
pamphlet  is  occupied  by  an  account  of  the  artistic  con- 
tents of  the  manoir,  which  included  a  fine  pewter  flagon, 
bearing  the  date-stamp  of  Henry  VIII.,  and  some 
Dutch  chairs  of  the  late  Spanish  period. 


^44 


gURREflTART 


Naval  and 
Military  Works 
at  the  Guildhall 


The  most  striking  feature  in  the  exhibition  of  nava] 
and  military  works  .it  the  Guildhall  is  the  fine  display 
of  French  art.  It  is  not  merely  the 
largest  section  of  the  exhibition,  but 
is  the  only  one  which  includes  any- 
thing like  an  adequate  representation 
of  the  work  of  the  country  to  which  it  belongs.  It  epito- 
mises French  military  work  for  over  a  century ;  the  English 
pictures,  probably  because  of  consideration  of  space,  are 
almost  wholly  confined  to  examples  produced  during  the 
last  twenty  or  thirty  years:  while  the  representation  of 
Belgian  and  Russian  work,  owing  to  the  hostile  occupa- 
tion of  one  country  and  the  difficulties  of  transit  from  the 
other,  is  almost  negligible.  I'nder  these  circumstances 
French  military  art  appears  at  a  decided  advantage,  and 
the  unrerlective  visitor  might  be  forgiven  if  he  assumed 
that  the  English  work  was  merely  an  offshoot  from  it. 
This  is  not  the    case,    for   modern    military  as  well  as 


naval  pictures  owe  their  origin  to  England  rather  thai: 
to  France.  Naval  art  has  never  established  itself  in 
France — a  natural  sequence  to  the  fai  t  that  the  m 
glory  of  the  country  has  been  almost  entirely  gained  in 
battles  on  land.  In  England  our  school  of  naval  paint 
ing  dates  back  to  the  time  of  the  Van  der  Veldes,  both 
Willem  the  elder  and  YVillem  the  younger  settling  in 
England.  From  them  is  derived  the  long  line  of  English 
painters  of  sea  and  shipping,  which,  beginning  with  such 
men  as  Monamy,  Scott,  and  Brooking,  rose  to  its  height 
in  the  time  of  Turner  and  Stanfield,  and  is  now  n 
sented  byWyllie.  Henry,  Somerscales,  Cribble, Wilkinson, 
and  other  well-known  artists.  In  military  painting  the 
succession  was  neither  established  so  early  nor  has  it 
been  so  clearly  maintained,  the  true  ancestor  of  the 
modern  battle  picture  being  West's  Death  of  General 
This  was  painted  in  1771,  the  same  via:  that 
Gro    was  born,  and  Gros  must  be  looked  upon  as  the 


THE  CHASl     01      III!     GERMAN    CRUISERS  ON    JANI    VRY    J.l.     M1I5,    IIY    nil-:    HON.    MM      [OI.I.EM/1 


-45 


NAPOLEON  AT  ARCOLE 


BY  ANTOINE  JEAN  BARON  GROS 
246 


Current   Art   Notes 


originator  of  the  modern  battle  picture  in  France.  The 
picture  which  represents  him  here,  a  replica  of  the  figure 
of  Napoleon  taken  from  the  large  canvas  of  Bonaparte 
at  Arcole,  is  dramatic  in  conception,  and  shows  the  firm 
draughtsmanship   one    might  expect   from   the  greatest 


but  it  is  far  more  convincing,  and  strikes  an  unhackneyed 
note  in  the  rendering  of  the  pageantry  of  war. 

What   may  be  termed  the  middle   period  of  French 
modern  military  painting  was  dominated  over  by  Mi 
sonier,    who    brought    to    his  large    canvas   the    minute 


l'RANSLUCENT   CHALCEDONY  BOTTLES 


THE    PROPERTY    OF    MK.  O.  C.   KAI'H.U 


1,1  RLINGTON    KINK    ARTS    CLUB 


pupil  of  David.  Gericault  and  Delacroix,  who  com- 
pleted Gros's  unconscious  work  of  replacing  the  classical 
tradition  of  David,  are  not  represented  here.  Horace 
Yernet,  whose  facile  brush  was  employed  by  Louis 
Philippe  to  furnish  some  roods  towards  the  acres  of 
battle  pictures  which  fill  the  Palace  of  Yersailles,  is  seen 
in  one  of  his  earlier  examples,  The  Figlit  at  the  Clichy 
Gate,  painted  in  1820,  which  is  both  more  realistic  and 
sincere  than  his  large  and  ambitious  Government  com- 
missions ;  while  Raffet  and  Charlet,  perhaps  now  more 
celebrated  for  their  lithographs  than  their  pictures,  have 
half  a  dozen  costume  pictures  between  them.  Hippolyte 
Bellange  is  at  his  best  in  A  Review  in  1810  under  the 
Empire  in  the  Place  1/11  Carrousel.  It  has  not  the 
dramatic  power  of  the  same  artist's  Retreat  from  Russia, 


precision  of  a  miniature  painter.  The  Guide,  by  whii  b 
he  is  represented,  is  a  good  example  of  his  powers,  well 
drawn,  carefully  painted,  and  highly  finished.  It  is  a 
miracle  of  painstaking  work,  perfect  in  its  way,  but 
appealing  only  to  the  intellect,  and  failing  to  touch  the 
emotions.  A  contrast  to  the  placidity  of  this  picture  is 
afforded  by  Gerome's  Execution  of  Marshal  Ney,  in 
which  the  dramatic  possibilities  of  the  situation  have 
been  fully  seized.  Ney's  body  is  represented  lying  on 
the  ground  at  the  foot  of  a  blank  wall  ;  the  firing 
party  are  marching  stolidly  away,  one  of  their  number 
— an  officer — turning  his  head  half  round  to  catch  a 
last  glimpse  of  the  bravest  of  Napoleon's  generals. 
Though  Meissonier's  style  was  followed  by  Detaille  and 
lie  Neuville,  the  two  most   popular  military  painti 


iRANSLUCENT  CHALCEDONY  BOTTL]  ill)     PROPERTY   01     MR.  0.  i       RAPHAEL,  A BURLINGTON    PINE   AR1 


247 


The   Connoisseur 


the  last  generation,  the  tragedy  of  the  Franco-Prussian 
Wat  of  ICS70  turned  men's  minds  more  to  the  realities  of 
war  than  its  pageantry.  Detaille,  indeed,  kept  closely  to 
the  path  of  his  master,  painting  in  a  more  free  style  and 
with  a  greater  feeling  for  colour.  The  largest  of  his 
works  here  is  The  lletlieny  Review,  which  is  interesting 
as  recording  a  notable  way-mark  in  the  Franco-Russian 
alliance.  A  more  typical  example  is  the  Napoleon  and 
his  Generals,  with  its  effective  grouping  and  wealth  of 
picturesque  costume  ;  while  more  spontaneous  in  execu- 
tion are  some  of  his  admirable  single  figure  studies.  De 
Neuville  was  more  realistic  in  his  battle  scenes.  His  Le 
Bourgei — a  replica  of  the  larger  picture  now  in  America 
— depicts  a  party  of  French  wounded  being  brought  out 
of  the  shattered  village  church  after  a  heroic  resistance 
against  overwhelming  odds.  The  note  of  tragedy  is 
strongly  marked  without  being  over-accentuated.  Bou- 
tigny's  Brave  Man,  showing  a  villager,  single-handed, 
keeping  a  body  of  Prussians  at  bay  as  they  turn  in  at  the 
far  end  of  the  street,  is  a  work  of  similar  character. 
Pictures  of  this  kind  give  a  clue  to  the  dogged  heroism 
displayed  by  the  French  in  the  present  war.  The  old 
ideal  of  purely  martial  glory  has  evaporated  and  the 
nobler  ideal  of  self-sacrifice  for  the  service  of  the  country 
lias  been  evolved.  One  may  see  this  ideal  put  on  to 
canvas  in  many  forms — in  The  Parisians  at  femappes, 
by  R.  Uesvarreux,  where  a  group  of  motley  uniformed 
citizens  are  shown,  transformed  into  an  invincible  army 
by  their  enthusiasm  for  liberty  ;  in  the  Here  they  are  !  by 
J.  M.  Dujardin-Beaunietz,  which  depicts  the  inhabitants 
"t  a  chalet  extemporising  a  defence  against  the  advanc- 
ing Prussians;  and  most  simply  of  all  in  the  Square 
Battalion  at  Waterloo,  by  A.  P.  Protais,  which  shows 
the  moonlit  field  strewn  with  the  piled-up  dead. 

This  ideal  is  not  so  apparent  in  modern  English  art, 
for  English  land  battles  have  been  fought  less  for  the 
defence  of  the  soil  of  the  country  than  of  the  outlying 
wards  of  her  far-flung  empire,  and  her  army  has  hitherto 
been  a  class  apart  from  the  rest  of  the  people.  And  so 
in  the  English  works  one  sees  pictured  a  race  of  pro- 
fessional fighters  whose  exploits  are  marked  by  an  air 
of  insouciance,  who  face  death  with  a  nonchalance  which 
attracts  the  admiration  but  weakens  the  sympathy  of 
the  spectator.  Possibly  one  does  not  feel  this  so  much 
in  the  older  pictures  as  the  more  modern  ones.  Maclise'a 
two  finished  cartoons  for  the  large  water-glass  panels 
are,  indeed,  almost  wholly  aesthetic  in  their  sentiment, 
Maclise  being  more  concerned  to  make  a  well-balanced 
composition  and  invest  his  figures  with  statuesque 
grace  than  to  tell  a  dramatic  story,  or  even  put  it  into 
good  paint.  Desanges,  in  the  Victoria  Cross  Gallery, 
painted  for  the  Crystal  Palace,  went  in  heavily  for 
theatrical  sentiment.  The  half-dozen  canvases  from  it 
which  have  found  their  way  here  are  as  lifeless  as  an 
old-fashioned  melodrama.  Lady  Butler,  though  her  art 
is  on  a  far  higher  level  than  Desanges's,  sometimes  erred 
in  the  same  direction.  In  this  respect  her  After  Balaclava 
and  Steady  the  Drums  and  Fifes  are  among  the  worst  of 
her  pictures.  The  former  is  a  page  of  Kinglake  trans- 
lated into  paint  ;  but  it  is  not  a  typical  page  of  British 


Army  history.  Some  of  the  men  who  took  part  in  the 
terrible  charge  were  dazed  and  bewildered  when  they 
came  back.  Put  these  were  the  exceptions  ;  the  great 
majority  were  ready  to  do  it  again.  Lady  Butler  has 
painted  the  exceptions.  In  the  scene  at  Albuera  the 
artist  shows  the  nervousness  of  a  group  of  juvenile  bands- 
men. However  they  felt,  one  can  argue  confidently  that 
they  presented  a  bolder  front,  for  half  their  number  fell 
on  the  field  before  the  French  left  them  in  possession. 
One  of  the  most  convincing  canvases  is  Mr.  Beadle's 
Rear  Guard,  which  shows  the  old  95th  Rifles  forming  up 
across  a  snowy  landscape  to  hold  back  the  French.  In 
this  the  haggard,  war-worn  faces  of  the  men  and  their 
dilapidated  uniforms  give  a  note  of  realism  to  the  scene 
which  is  not  always  found  to  the  same  extent  in  the 
artist's  other  works.  Mr.  R.  Caton  Woodville's  Saving 
the  Guns  at  Maiwand  is,  perhaps,  the  most  spirited 
picture  in  the  exhibition.  It  realises  the  movement  and 
action  of  frantically  galloping  horses  with  a  vigour  that 
carries  conviction  to  the  spectator.  Another  picture  of 
the  same  character  is  Mr.  John  Charlton's  British 
Artillery  entering  the  Enemy's  lines  at  Tel  el  Kefir; 
but  in  this  the  act-ion,  though  equally  true,  is  less  vigor- 
ous. Of  Mr.  R.  Gibb's  four  pictures,  The  Storming  of 
the  Dargai  Heights,  with  its  subtle  tone  of  blue  carried 
throughout  the  picture,  is  the  most  artistic,  yet  will 
probably  never  secure  the  same  popularity  as  The  Thin 
Red  Line  or  Saving  the  Colours,  in  which  the  human 
interest  is  more  strongly  emphasised.  Napoleonic  episodes 
are  strongly  in  evidence.  Mr.  Woodville  paints  the 
emperor  and  his  troops  in  emulation  of  Meissonier,  and 
with  the  same  regard  for  the  accuracy  of  the  uniforms  of 
the  period.  In  Mr.  Ernest  Croft's  Evening  at  Waterloo 
a  graphic  representation  of  the  emperor's  fall  is  given! 
he  is  pictured  galloping  with  his  staff  On  the  Sands  at 
Boulogne,  by  Mr.  A.  C.  Gow,  in  a  work  showing  move- 
ment and  refinement  ;  and  by  Mr.  P'red  Roe  receiving 
Urgent  Despatches  during  the  retreat  from  Moscow.  In 
this  picture  the  artist  has  realised  the  dramatic  possibilities 
of  the  scene  as  well  as  the  pictorial,  and  the  result  is 
a  convincing  work.  In  far  too  many  of  the  pictures  the 
artists  fail  to  remember  that  a  hard-fought  battle  cannot 
fail  to  leave  its  traces  on  the  clothes  and  persons  of  the 
combatants.  This  was  more  especially  the  case  in  the 
sea  battles  of  the  old  days  before  cartridges  were  invented, 
when  the  grime  of  the  powder  and  the  thick  smoke  must 
have  made  the  men  engaged  look  like  so  many  colliers. 
Yet  in  nearly  every  work  showing  the  deck  of  a  vessel 
after  a  naval  action  the  decks  appear  in  spotless  condition, 
and  the  uniforms  of  the  officers  and  men  in  review  order. 
(  )n  this  account  the  representations  of  naval  sea-fights 
as  seen  from  some  distance  away  are  by  far  the  more 
realistic.  Mr.  Wyllie's  Battle  of  the  Nile  and  Battle  of 
Trafalgar,  besides  being  well-arranged  compositions, 
gave  one  the  idea  that  they  were  faithful  representations 
of  the  events  depicted.  The  latter  remark  equally  applies 
to  Lord  Home's  I  'ictory,  by  Mr.  Thomas  Somerscales  ; 
while  Mr.  Cribble's  On  the  Road  to  Trafalgar  gives  a 
beautiful  idea  of  the  grace  and  majesty  of  a  fleet  of  the 
old    line-of-battle  ships    under  full   sail.       The    modem 


248 


LADY    WHARTON 

BY    SIR    ANTHONY    VAN    DYCK 

In  the  collection  oj  II   :  Grace  tfa    Dul     oj   Devonshire,  at  ( 


Current    Art   Notes 


^B  iAHh  ^B- "  v'               ^B 

B-  ■  m     1 

15V    t 

INLAID    BLACK    I   ICQUER    PANELS 

warship  is  not  so  picturesque,  but  both  Mr.  Norman 
Wilkinson  and  Mr.  C.  Napier  Hemy  use  its  artistic 
possibilities  to  good  account ;  yet  Mr.  Duff  Tollemache, 
in  his  Chase  of  the  German  Cruisers  on  January  24th, 
rgij,  gives  us  what  is  perhaps  the  most  vivid  idea  of 
a  modern  naval  battle.  The  handling  of  the  work  is 
somewhat  heavy,  but  Mr.  Tolle- 
mache has  succeeded  in  convey- 
ing .in  impression  of  the  vastness 
of  the  scale  on  which  a  modern 
naval  action  is  fought.  The 
giant  warships,  each  belching 
out  a  dense  cloud  of  smoke,  look 
small  when  compared  to  the 
surrounding  expanse  of  sea.  on 
the  extreme  verge  of  which  may 
be  dimly  distinguished  the  flying 
foe.  Though  almost  invisible,  his 
shells  are  burstingthickly  around 
the  English  vessels,  and  this 
remoteness  and  practical  invisi- 
bility of  the  enemy  is  the  salient 
characteristic  of  the  opening 
e,  of  a  model  n  fleet  battle. 
I  here  are  numerous  pictures  of 
land  battles  in  the  present  war, 
yet  none  of  them  can  be  regai  1 
as  typical  of  the  struggle,  mile,. 
one  excepts  tin  1,  iiilile  little 
sketch  of  M.  (i.  Jeannii  1 
ing  a  body  of  German  troops 
deliberately  shooting  down  a 
crowd  of  unarmed  Belgian  citi- 
zens— men  and  women  alike  — 
penned  up  in  the  cornel  1  ii 
factory  yard.  A  large  number 
of  topical  porti  dl     are  shown  in 


1111.    PROPERTY   OK    MR.   K.   II.   BENSON,     \l      NIK    BURLINGTON    FINE     \KI 


the  exhibition,  but  most  of  these,  with  the  exception  oi 
Mr.  Harold  Speed:s  clever  sketch  of  the  King  of  the 
Belgians,  have  been  on  view  lately.  Perhaps  the  two 
finest — in  colour  at  all  events — are  the  one  of  Lord 
Ckarhs  Beres/ord,by  Mr.  Furze,  whose  untimely  death 
n  ibbed  the  English  school  of  one  of  its  greatest  masters  ; 
and  that  of  the  Emperoi 
Russia,  bv  M.  Serov. 


The  Exhibition  of 
the  Royal  Society 
of  Miniature 
Painters 


I\l  AID   BLACK    LACQUE1      I  Mi  I       1   REEN 

•I  UK    PRi    1  1  I    1  .     OI      .11       1       It.    BI  NSON 
\ fON    FIN!      Mi       CI 


I'm  effects  of  the  war  were 
shown  at  the  twentieth  exhibition 
1  il  the  Royal 
Society  of 
M  iniature 
Paint  e  r  s. 
held  at  the 
Mi  idem  1  ial  lei  \ .  61,  New  Bi 
Street,  by  there  being  a  greater 
number  of  absentees  than  u 
Half  the  membei  ;w< 
-  ted,  and  others  ent  fewer 
1  ontributions.  The  president, 
Mr.  Alyn  Williams,  had  only  a 
single  example,  a  half-length 
figure  of  a  man.  entitled  The 
iple.  'Ibis  was  mil  of  char- 
acter, and,  though  highly  finished, 
painted  with  1 1  u  e  nc  j   and  de 

Sir    |anie       1  '      I   into  n    wa  S 

similarly  re) 

biiiion   1).  abinet 

water-coloui  entitled   A'- 1 
and  Silver.     \\ 
good    in  eoloti  1.  tul   ami 

1  d  manipul  1 

to    hold    its   o  u  11.    11. 


The    Connoisseur 


texture,  with  any  of  the  orthodox  miniatures.  Some  of 
the  latter,  indeed,  were  treated  with  the  freedom  of 
water-colour  sketches.  An  undue  tendency  this  way  is 
to  be  deprecated,  as  a  miniature,  whatever  its  style, 
should  be  a  complete  and  finished  composition.  That 
this  necessity  can  be  complied  witli  in  vigorous  brush- 
work  was  shown  in  the  vigorous  self  portrait  of  .Mr. 
Edwin  E.  Morgan,  in  which  the  modelling  and  charac- 
terisation of  the  face  and  the  incidence  of  the  reflected 
lights  on  the  flesh  were  marvels  of  close  observation. 
The  portrait  of  a  lady  in  mourning,  entitled  One  of 
Many,  by  .Miss  Bess  Norriss,  was  equally  good,  being 
set  down  with  crispness  and  decision,  and  everything  the 
artist  wanted  to  say  fully  conveyed.  Neither  the  Tulip 
Girl  nor  the  Nude  Study  was  quite  so  complete.  A 
different  style  of  work  was  shown  in  the  three  minia- 
tures by  Miss  N.  M.  Hepburn  Edmunds,  in  which  the 
handling,  though  equally  definite  in  intention,  was  far 
more  minute.  In  these  good  colour  was  combined  with 
firm  draughtsmanship,  but  there  was  a  slight  tendency 
to  hardness.  Among  other  portrait  miniatures  which 
deserve  mention  were  Miss  Aimee  Muspratt's  nicely 
touched  in  Black  and  White  ;  Mr.  V.  W.  Burnand's 
daintily  coloured  Helen;  Miss  Winifred  Swayne's  two 
attractive  studies  of  children  ;  the  Portrait  of  a  Lady, 
highly  reminiscent  of  the  eighteenth-century  masters,  by 
Count  Mario  Grixoni  ;  the  well-modelled  Portrait  of  a 
lady  by  Miss  lima  Soutten  :  and  works  by  Miss  Lilian 
Hacker,  Myra  E.  Luxmore,  Mabel  Edwards,  Georgina 
Laing,  Chris  Adams,  and  Mr.  Hope  Douglas.  Of  por- 
traits in  other  mediums,  the  coloured  wax  medallion  of 
Dorothy,  daughter  of  Robert  Newman,  Esq.,  by  Miss 
Florence  Newman,  may  be  commended  for  its>  sharp, 
crisp  modelling  and  effective  colour.  Some  good  portrait 
medals  were  shown  by  Mr.  Cecil  Thomas  and  some  well- 
coloured  enamels  by  Miss  Mary  Pitts.  Subjects  which 
do  not  come  within  the  classification  of  portraits  included 
a  clever  character  study  of  a  shoemaker  reading,  entitled 
A  Lover  of  Dickens,  by  Mr.  Charles  Spencelayh  ;  a  well- 
posed  and  dainty  drawing  of  A  Dancer  in  pink,  by  Miss 
Florence  White  ;  and  some  good  dog  studies  by  Miss 
Minnie  Fox. 

ONE   might  give  a  guess  of  the  ownership  of  the  im- 
portant  loan  collection  of  pictures  by  British  and  Dutch 

masters  exhibited  at  Messrs.  Agnew's 
English  and  .    ,,  ,         ,.,.  ,    _       ,    „  ,,T  , 

p.  7  ,    tut     .  (.allenes  (43,  Did   Bond  Street,  W.), 

Dutch  Masters  .  "-"  .  . 

in  aid  ot  the  British  Red  Cross  Society, 

as  many  of  the  item;  have  been  shown  in  recent  loan 
exhibitions,  where  they  were  catalogued  as  belonging  to 
Mis.  F.  C.  K.  Fleischmann.  Probably  few  collections 
of  the  same  size  attain  such  a  high  general  level  of 
excellence,  for  though  every  master  exemplified  was 
1  mi  seen  at  his  best,  there  was  little  that  did  not 
attain  a  representative  standard.  Of  the  English  por- 
trait painters,  the  men  who  attained  their  full  reputation 
in  the  early  nineteenth  century  were  generally  seen  to 
better  advantage  than  their  eighteenth  -  century  prede- 
cessors. Hoppner's  Mrs.  Williams,  better  known  under 
its  engraved  title  of  The  Mob  Cap,   is  one  of  the  most 


fascinating  presentments  of  young  British  womanhood  he 
ever  produced  ;  and  Lawrence's  Mrs.  Planta,  though  not 
so  sympathetic  in  its  vision,  almost  rivalled  it  in  its 
attractiveness.  Raeburn  generally  succeeded  best  with 
older  women,  and  his  Alicia,  Lady  Stcuart  of  Kinross, 
in  its  atmospheric  qualities,  and  the  superb  management 
of  the  flesh-tones  and  the  whites  of  the  drapery,  is  as  good 
as  anything  he  painted.  The  five  Cainsboroughs  were 
more  mixed  in  quality ;  the  Miss  Butler  and  the  fine 
bust  portrait  of  Dr.  William  Pearce  were  both  character- 
istic, the  former  of  his  earlier  and  more  restrained  manner, 
and  the  latter  of  his  Bath  period  ;  the  Landscape,  a  late 
work,  beautiful  in  colour  and  fluent  in  handling,  but 
showing  indications  that  it  was  one  of  the  artist's 
imaginary  compositions  rather  than  directly  suggested  by 
nature,  was  also  highly  characteristic  ;  but  neither  the 
heavily  painted  and  clumsily  handled  David  Gari  ick  1101 
the  highly  -  finished  Admiral  Hawkins  showed  much 
affinity  to  the  artist's  usual  work.  The  former  picture,  as 
the  one  engraved  by  Collyer,  and  the  latter,  as  men- 
tioned in  Fulcher's  life  of  the  artist,  have  both  well- 
established  pedigrees,  otherwise  one  might  be  disposed 
to  doubt  the  correctness  of  their  attribution.  The 
Miss  Mary  Pelham  of  Sir  Joshua  Reynolds  was  clever 
without  being  particularly  attractive,  while  his  Mrs. 
Huddesford  was  neither  good  in  colour  nor  execution, 
and  was  further  marred  by  the  intrusion  of  the  head  of  a 
preposterous  dog.  Romney,  when  he  painted  the  portrait 
of  Mrs.  Clay  and  Child,  had  the  Venetian  masters  in 
mind,  and  the  rich,  almost  bizarre,  colouring  was  obviously 
inspired  by  them.  It  is  a  direct  piece  of  work,  well 
sustained  in  tone,  but  not  altogether  happy  in  composi- 
tion. Among  the  English  landscapes,  Willie  Lot's 
Cottage,  by  Constable  —  practically  the  same  subject 
which  Lucas  engraved  in  the  English  landscape  series 
under  the  title  of  The  Mill  Stream — showed  the  most 
originality,  and  though  small,  was  a  thoroughly  charac- 
teristic example  of  the  artist  in  his  greatest  period.  An 
important  landscape,  Woodland  Scene  with  Figures,  by 
James  Stark,  was  also  thoroughly  characteristic,  but 
showed,  by  its  close  affinity  in  outlook  and  treatment  to 
the  magnificent  Landscape  with  Figures,  by  J.  Ruysdael, 
which  hung  near  by,  how  greatly  the  artist  was  inspired 
by  the  Dutch  masters  in  his  interpretation  of  nature. 
The  collection  included  several  other  characteristic 
specimens  of  Ruysdael,  two  good  Hobbemas,  and  a  fine 
portrait  of  a  Boy  Beading,  by  Hals.  In  its  brushwork 
this  was  perhaps  the  finest  picture  in  the  exhibition,  but 
it  failed  to  come  up  to  the  standard  of  colour  and  atmo- 
sphere exemplified  in  the  two  fine  Rembrandts — the 
Portrait  of  the  Artist's  Father  and  the  Portrait  of  a 
Woman,  known  as  Rembrandt's  Cook. 

THE  twenty-fifth  exhibition  of  the   Royal   Society  of 
Portrait  Painters  (the  Grafton  Galleries)  rivalled  Madame 

Tussaud's  in    the   number  of  like- 
The  Royal  c  .  ,       ,   ,    • 

e—  .       nesses  of  topical  celebrities,   more 

Society  oi  Portrait  .   ,,         '  ,  ,        ... 

_   .  especially  of    naval   and    military 

Painters 

officers,  it  contained.     I  he  majority 

of  them  had  been  shown  previously,  some  of  them  making 


252 


Current   Art   Xotcs 


their  third  or  fourth  recent  appearance.  There  were 
other  works  in  the  exhibition  which  were  not  on  view  for 
the  first  time,  so  that  altogether  it  was  far  more  retro- 
spective than  usual.  In  the  first  gallery  the  predominant 
colour  was  khaki,  a  hue  which,  however  perfectly  it 
satisfies  military  requirements,  affords  little  assistance  to 
the  artist  in  search  of  the  picturesque.  One  cannot  say 
that  any  painter  succeeded  in  making  the  current  English 
service  uniform  interesting  in  the  same  way  that  the 
English  eighteenth-century  masters  made  the  military 
uniform  of  their  time  interesting  ;  but  the  failure  casts  no 
reflection  upon  their  skill,  but  only  serves  to  exemplify 
how  more  and  more  the  portraitist  is  becoming  handi- 
capped in  the  matter  of  costume.  Mr.  H.  Harris  Brown, 
fortunate  in  being  able  to  paint  Captain  the  Hon.  Ian 
Maitland,  A.D.C.,  in  the  parade  uniform  of  the  Cameron 
Highlanders,  set  down  the  scarlets  and  greens  with  a 
gusto  that  showed  he  enjoyed  the  opportunity.  He  had 
managed  the  flesh-tones  of  his  sitter's  countenance  with 
great  discretion,  neither  investing  them  with  unnatural 
pallor,  to  contrast  with  the  scarlet,  nor  making  them 
unduly  rubicund,  to  hold  it  in  place,  but  recording 
them  in  their  natural  hues  without  upsetting  the  tonal 
balance  of  his  picture.  The  nondescript  drabness  of 
khaki  reigned  almost  supreme  in  the  other  military 
portraits.  Mr.  J.  J.  Shannon,  R.A.,  was  perhaps  the 
most  successful  in  its  treatment.  In  his  portrait  of 
WalterS.  Keigwan,  Esq.,  he  had.  at  any  rate,  attained 
a  homogeneous  colour-scheme,  and  good  brushwork  and 
a  lively  appreciation  of  the  sitter's  personality  made  the 
work  both  convincing  and  interesting.  His  portrait  of 
H.R.H.  The  Princess  Mary,  which  is  to  be  sold  for  the 
benefit  of  the  Queen's  Work  for  Women  Fund,  was 
among  the  few  really  attractive  portraits  of  royalty.  (  ine 
might  suggest  that  this  picture  might  well  be  engraved 
for  the  benefit  of  the  same  charity.  It  would  make  a 
highly  pleasing  subject  apart  from  the  personality  of  the 
sitter,  and,  aided  by  the  princess's  great  popularity, 
should  command  a  large  sale.  Neither  Mr.  Hugh  de  T. 
Glazebrook  nor  Mr.  Herbert  A.  Oliver  was  altogether 
happy  in  their  portraits  of  the  King.  The  one  by  the 
last-named  artist — a  sketch  for  his  Royal  Aca 
picture  —  was  perhaps  the  better  of  the  two ;  it  was  not 
flattering,  but  it  conveyed  more  individuality  and  <  harm 
ter.  Going  back  to  the  first  gallery,  one  found  relief 
from  the  prevailing  khaki  in  Mr.  Frederic  Whiting's  Eva, 
with  its  trenchant  note  of  re, 1  and  orange,  a  delightfully 
brilliant  and  spontaneous  work.  Mr.  Maurice  Gn 
hagen,  in  his  portrait  of  Mn  Oswald  Bri  rley,  had 
attempted  what  Reynolds  declared 
ful  attainment     to  paint  a  picture  in  which  blue  should 

be  the   predominant    colour.       Unlike    Gai 

Blue  Boy,  Mr.  Greiffenhagen's  work  supported  the  theory 
of  the  first  president  of  the  Academy,  the  great  mi 

blue  in   tin  tume    striking    an    unpleasantly 

cold    and    harsh     note.        In     Ml       I      B.     Kenning 
portrait  of  Miss  Kennington  cold  colour  also  occupied 
the  greater  portion  of  the  surface  ol   the  picture,  the 
background  being  in  slate  grey  and  the  -liter's  costume 
m  a  lighter  tone  of  the  same  colour.      In  this,  howi 


the  darker  tone  formed  not  so  much  part  of  the  picture 
as  the  ground  on  which  it  was  painted,  the  artist  using 
it  a-  a  water-colour  painter  would  a  sheet  of  tinted  card- 
board. It  thus  served  to  give  value  to  the  warm  yet 
delicate  flesh-tones  and  the  more  tender  greys  of  the 
dress  and  hat.  The  work  is  a  thorough  success,  the 
effect  gained  being  not  that  of  a  tour  de  force,  but  as 
though  the  artist  had  nicely  suited  his  method,  so  as 
o  \  ve  the  most  pleasant  and  characteristic  record  o) 
the  sitter's  physiognomy.  Mr.  J.  J.  Sargent's  Millicettt, 
Duchess  of  Sutherland,  while  well  holding  its  own,  lost 
by  comparison  with  the  artist's  more  recent  wink. 
both  less  homogeneous  in  its  conception  and  spontaneous 
and  individual  in  its  execution.  The  Girl  in  Hlack  of 
Mr.  George  Spencer  Watson  attained  a  note  of  dis- 
tinction, but  was  wanting  in  vitality.  One  felt  that  a 
sixteenth-century  Venetian  painter  might  have  seen  the 
subject  in  the  same  way,  but  that,  as  a  specimen  of 
twentieth-century  art,  it  was  something  of  an  anachro- 
nism. Passing  by  Mr.  Richard  Jack's  easily  posed 
Lieut.  R.  J.  Jack,  Mr.  Wm.  B.  E.  Ranken's  clever 
but  over  slickly  painted  Lady  Maud  Hoare,  and  Mr. 
Frank  O.  Salisbury's  solid  and  dignified  Capta.  . 
Hon.  H.  C.  O'Callaghan  Prittie,  one  came  upon  Mr. 
John  Lavery's  striking  portrait  of  Mr.  Churchill.  He 
was  represented  in  three-quarter  face,  turned  towards 
the  spectator,  the  far  side  being  almost  lost  in  shadow. 
This  gave  the  artist  the  opportunity  of  showing  thi 
modelling  of  the  forehead  and  the  lines  of  the  face.  It 
was  a  powerful  portrait,  doing  full  justice  to  the  sitter's 
intellectual  and  strongly  characterised  physiognomy. 
A  contrast  to  this  was  Mr.  Ellis  Roberts's  smoothly 
painted  portrait  of  Miss  Olwen  Lloyd  George,  in  Welsh 
national  costume.  It  was  impossible  to  deny  tin 
draughtsmanship  of  the  work,  or  that  the  artist  had 
set  an  attractive  portrait  on  canvas,  but  the  whole 
picture  smacked  of  artificiality.     Though  the  figure  was 

: I  out  of  doors,   the  lighting  was  that  of  the  sti 

and  the  background  of  foliage  and  distant  mountains 
carried  as  little  conviction  as  the  painted  canvas  oi  a 
photographer's  operating-room. 

THE  fifty-third  exhibition  of  the  New  English  Art 
Club  at  the  galleries  of  the  Royal  Society  of  British 
Artists  Suffolk  Street  did  not  en- 
hance the  prestige  of  tha 
l>i  main  of  the  stronger  mem- 
bers were  either  unrepresented  or  represented  only  by 

sketches,  while  the   most   numi   o        

hibitors  verged  on  post-impressionism  without  acti 

rig  the  border-line;  their  wmk  attained  the  failure 

of  mo  il was   hard  mgh  to 

be  in: i  or  eccenti  i  to  be  entertaining. 

Among  the  few  paintings  which  attained  distinction  was 
Mr.   I     Call       Robinso  mural   decoration   of 

Orphans,    a    work    intended    for    thl  '    the 

Middlesex   Hospital.     Though  the  first  exhibited  i 
by  the  artist  in  tins  style  of  w  ch  an  extended 

scale,  the  largeni 
and  simplicity  oi  his  techi  lit  him  f< 


The  New  English 
Art  Club 


2S3 


The    Connoisseur 


and  in  this  instance,  out  of  the  commonplace  theme  of 
the  inmates  of  an  orphan  asylum  sitting  clown  to  an 
evening  meal,  he  had  made  a  noble  and  dignified 
picture,  suffused  with  tender  sentiment.  Its  one  failing 
was  that  it  appeared  disconnected,  a  blemish  that  was 
less  owing  to  faulty  composition  than  to  the  conflicting 
lighting.  In  the  body  of  the  picture  the  illumination 
emanated  almost  wholly  from  a  lamp,  while  the  bright- 
ness of  the  full  moon  seen  through  a  window  high  up 
in  the  wall,  forming  the  background,  showed  that  the 
twilight  must  be  far  advanced,  yet  on  the  right  of  the 
picture  a  bevy  of  girls  trooping  down  a  narrow  flight  of 
stairs  appeared  to  be  emerging  out  of  or  into  broad  day- 
light. This  incongruity  gave  the  picture  the  appearance 
of  being  divided  into  two  independent  compositions. 
Another  work  of  the  same  genus,  but  widely  differing 
in  its  outlook,  was  the  Decoration  for  Summer,  by  Miss 
Ethel  Walker.  In  this  the  artist  had  confined  her 
efforts  to  clothing  a  rhythmic  arrangement  of  line  with 
pictorial  suggestion  that  showed  no  approach  to  realism. 
The  composition  suffered  from  a  monotonous  prepon- 
derance of  curves,  and  wanted  some  straight  lines  to 
give  it  strength  and  afford  a  contrast.  Among  the  land- 
scapes, Mr.  Mark  Fisher's  three  contributions  expressed 
in  true  and  poignant  colour  the  feeling  of  springtime  ; 
Mr.  P.  Wilson  Steer  confined  himself  to  sketches 
marked  by  a  tantalising  suggestiveness  of  beauties 
which  required  concrete  definition  to  give  them  ex- 
pression :  Mr.  C.  1.  Holmes's  small  Brick  Cupolas, 
a  transcript  of  a  vividly  red  building  with  tall  chimneys 
silhouetted  against  a  smoke-laden  atmosphere,  conveyed 
with  almost  monumental  force  a  sense  of  the  dreariness 
and  desolation  of  a  typical  black-country  scene  ;  and 
Mr.  A.  W.  Rich  contributed  several  scholarly  studies  of 
old  buildings,  (if  figure  subjects,  Mr.  A.  A.  McEvoy's 
portrait  of  Virginia,  daughter  of  Captain  Harry  Gra- 
ham, attracted  attention  by  its  sentient  brushwork ; 
Mr.  F.  H.  S.  Shepherd's  La  Grandmere  achieved  a 
succes  d'esttme  in  the  application  of  an  archaic  treat- 
ment to  a  modern  subject  ;  and  good  work  was  con- 
tributed by  Messrs.  W.  W.  Russell,  Philip  C.  Smith, 
and  Mr.  Bernard  Meminsky. 

It  has  frequently  been  noted  that  collecting  is  the 
most  lasting  of  habits.  Even  the  present  disturbance  of 
normal  life  will  scarcely  be  found 
strong  enough  to  make  the  born 
collector  altogether  forsake  his 
hobby.  Moreover,  .is  all  collectors  know,  the  habit  of 
collecting  once  acquired,  good  things  appear  to  come  of 
themselves  within  the  collector's  radius.  This  being 
granted,  there  is  no  necessity  to  urge  the  advantage  it  is 
to  all  interested  in  old  furniture,  antiques,  and  curios 
generally  to  take  care  to  have  adequate  information  at 
hand  on  things  doubtful  or  not  thoroughly  understood 
in  this  wide  and  important  field.  We  commend  to  those 
interested  in  antique  furniture  the  Waverley  Book  Com- 
pany's announcement  in  this  issue  regarding  their  pub- 
lication, Englisli  Furniture  of  tlic  Eighteenth  Century. 
Every  interested  reader  of  this  journal  will  find  it  ad- 
vantageous  to  seize   this  opportunity  to  learn  all  about 


A  Guide  to 
Furniture  Values 


tins  standard  work,  which  is  written  by  Mr.  Herbert 
1  i  ;i  insky,  and  which  gives  at  length  and  in  authori- 
tative form  the  necessary  information  as  to  periods, 
makers,  and  values.  A  postcard  to  the  Waverley  Book 
Company,  Ltd.,  7,  S,  and  9,  Old  Bailey,  London,  E.C., 
will  bring  to  any  reader  the  free  booklet  on  this  work. 

Wl  have  received  a  copy  of  their  latest  catalogue  from 

Messrs.  E.  Parsons  &  Sons  (45,  Brompton  Road,  S.W.  , 

which    contains    references    to   a 

A  New  Catalogue  ,     ,  .    ,         ,,  , 

particularly  varied   collection   of 

interesting   books,    whilst    the   section    devoted   to   fine 

old  engravings  is  strongly  represented.     A  collection  of 

brilliant  original  impressions  of  Aiken's  coloured  prints 

will  appeal  to  the  connoisseur  of  sporting  art,  whilst  the 

numerous   portraits  and   views  of  topographical    value, 

including  works  by  Turner  and  other  eminent  artists,  are 

all  of  standard  merit. 

I  111     study   of  antique   furniture  is  one   of  the   most 

absorbing  that  can  be  taken  up  by  a  connoisseur.       The 

extreme  subtletv  which  has  to   be 
Antique  Furniture  ,    .  ,        ,        ,•  a         ,■    . 

n  exercised  in  order   to   differentiate 

between  the  styles  and  their  overlapping  periods  exer- 
cises a  strange  fascination,  and  tends  to  widen  the 
outlook  on  the  artistic  world  to  no  small  degree.  All 
collectors  cannot  be  experts,  it  is  needless  to  remark,  but 
every  connoisseur  finds  some  fashion  in  furniture  to  his 
taste,  which  he  delights  to  gratify  by  possessing  "  lares. 
the  authenticity  of  which  is  unquestioned.  The  stock 
of  Messrs.  Davis  &  Sons,  Ltd.  (209,  Tottenham  Court 
Road,  W.i,  contains  numerous  pieces  which  are  likely 
to  appeal  to  the  collector,  whilst  for  those  who  prefer 
modern  work  there  are  reproductions  of  old  specimens 
specially  designed  to  harmonise  with  any  old-world 
surroundings. 

A  FEATURE  of  the  last  few  months  has  been  the 
number  of  sales  which  have  taken  place  in  old  country 
mansions,  whose  owners  have  passed 
away,  or.  for  various  reasons,  have 
seen  fit  to  part  with  some  of  their 
belongings.  A  good  proportion  of  these  dispersals  have 
been  undertaken  by  Messrs.  Knight,  Frank  cc  Rutley 
(20,  Hanover  Square  ,  and  some  of  the  results  have 
alreadv  been  reported  in  these  columns.  Particularly 
prominent  on  the  list  are  the  names  of  the  sale  of 
"The  Sydney  Collection''  at  Frognal,  the  contents  of 
1 1<  \  eningham  1  kill.  Suffolk,  the  property  of  the  late  Lord 
Huntingfield,  and  those  of  Worth  Park,  Sussex. 

Ni>i  only  to  those  connoisseurs  who  have  returned 
from  the  front  wounded,  but  also  to  all  in  need  of  a 
movable  seat,  the  new  "Wheel- 
about  Chair,"  placed  on  the  market 
by  Messrs.  John  Barker  &  Co.,  Ltd. 
(High  Street,  Kensington),  will  appeal  as  one  of  the 
necessities  of  life.  The  design  is  neat,  and  the  chair 
has  been  specially  constructed  to  meet  the  present  de- 
mand for  inexpensive  furniture  of  this  type,  whilst  the 
rubber  tyres  render  traction  both  easy  ami  silent. 


The  Houses  of 
the  Great 


A  Chair  for  the 
Wounded 


-54 


The    Connoisseur 


VALUATION    AND 
CORRESPONDENCE  DEPARTMENT 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  increased  correspondence  and  the  fact  that  The  Connoisseur  is  printed  a  month  before 
publication,  it  is  impossible  for  us  to  guarantee  in  even'  case  a  prompt  reply  in  these  columns,  an 
immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  where 
necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  goods  should  be  addressed  to  the 
"  Manager  of  Enquiry  Dept.,  The  Connoisseur,  35-39,   Maddox  Street,  W." 


'Books. 

"  Annals  of  Sporting,"  by  Caleb  Quizem,  1809. — 

A9.4S8  (Leeds). — We  do  not  think  that  your  copy  of  the  above 
work  would  realise  more  than  two  or  three  guineas,  unless  an 
exceptionally  fine  example.  You  are  not  quite  correct  in 
stating  that  one  realised  ,£13  at  the  Gilbey  sale  on  June2Ist, 
for,  as  a  matter  of  fact,  there  were  twelve  books  included  in  the 
lot  which  fetched  the  sum  mentioned. 

Clocks   and    Watches. 

Watch    Cock. — Acj,446  (Barcelona).  —  Many  of  these  can 
be  procured  comparatively  cheaply,  and,  without  seeing  yours, 
we  should  not  appraise  its  value  at  more  than,  say,  7 
do  not  know  the  name  of  the  maker. 


Orandfather  Clock,  by  "John  Broom,  Castle 
Coomb." — Ag,45o  (Calne). — We  regret  that  we  have  been 
unable  to  trace  the  name  of  this  maker  in  any  of  the  usual 
channels  of  information.  If  you  care  to  send  us  a  photograph 
of  the  clock,  we  may  be  able  to  assist  with  regard  to  the 
period,  etc. 

John  I '.in  I. .11.  Clockmaker. — Ac,,  452  (Leicester).  —  John 
Burton  was  apprenticed  to  Richard  Warren,  of  the  Clock- 
makers'  Company,  in  1672. 


Engravings. 

"Clytie,"   by   Bartolozzi.— Aq,4I7   (Leicester).-   Voui 
print  in  colours  is  one  of  a  series,  and,  if  a  good  impre       in, 
should  be  worth  about  /  5,  30  tar  as  we  can  judge  without 
the  original. 


ANSWERS    TO    CORRESPONDENTS 

Painters  and  Paintings. 

Miniature. — A9,479  (Berwick-on-Tweed). — We  regret  that 
it  is  impossible  for  us  to  value  the  miniature  of  the  Duchess  of 
Devonshire  without  an  inspection.       We  cannot  attempt 
remarks  as  to  the  artist,  as  we  are  not  able  to  tell  the  peri 
the  painting  from  your  description. 

Figino.  —  Ag,4So  (Bodmin).  —  There  were  two  Italian 
painters  named  Figino,  Ambrogio  and  Girolamo,  both  of  «  horn 
flourished  at  Milan  about  the  last  decade  of  the  sixteenth  cen- 
tury.     They  produced  historical  subjects. 

Danks.  —  A9.4S2  (Putney).  —  Francis  Danks  was  a  Dutch 
historical  and  portrait  painter.      He  was  born  in  1650,  and 
in   1703. 

Unidentified  Paintings. —  Shortly  after  its  inception, 
the  management  of  Til  K  CONNOISSEUR  decided  that  it  would  be 
necessary  to  provide  some  section  in  its  pa  es  lo  deal  with  the 
numerous  enquiries  about  unidentified  paintings  which  came  to 
hand.  And  it  was  for  the  purpose  of  reproducing  these  pictures, 
at  the  purely  nominal  charge  of  10s.  6d.  each,  that  NOTES  AND 
QUERIES  was  instituted.  As  anticipated,  readers  of  the  maga- 
zine were  able  to  supply  the  required  information  from  their 
own  experience  of  the  past  history  or  identity  of  the  works 
illustrated.  With  a  view  of  ascertaining  to  some  extent  the 
utility  of  this  department,  a  lengthy  list  is  in  process  of  com- 
pilation showing  the  principal  successes  scored  in  the  v. 
identifications,  which  it  is  hoped  to  publish  in  Till".  CONNOIS- 
SEUR as  soon  as  completed. 


6d.      We 


"Health    and     Labour,"    by     (iaugain.  —  A9,449 
(Stamford).  —  Your  print  of  the  above  denomination   is    worth 

11  1 1  v <    to  -even  guineas.      We  cannot  help  you  with  regard 

to  the  other  engraving  which  you  mention,  as  the     ;.      is  nol 
staled,   and  there  have  been  reproductions. 


"Pottery   and   Porcelain. 

Oriental  Vase.      A0.401    (Kilburn). — The  mark  on  your 
Oriental  vase  shows  that   it  t-<  hinese,  Kia-1 
We  must  see  the  vase  itself  before  appraising  a  value. 

China  Mark.—  A9.495  (Purley). —  The  copy  of  mark  which 
you  send  to  us  showing  an  "  S  ''  over  two  crossed  sw<  ids  and 
a  star  bel  '".  in  blue.  1-  Caughley  in  imitation  of  Dresden. 


2SS 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 
LDIC  DEPARTMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to  take  advantage  of  the  opportunities  offered  herein  should 
address  all  letters  on  the  subject  to  the  Manager  of  the  Heraldic  Department,  Hanover  Buildings,  35-39, 
Maddox  Street,  W. 

Only  replies  that  may  be  considered  to  be  of  general  interest  will  be  published  in  these  columns.  Those 
of  a  directly  personal  character,  or  in  cases  where  the  applicant  may  prefer  a  private  answer,  will  be  dealt 
with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the  accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged  fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or  heraldry,  it  is  desirable  that  the  fullest  details,  so  far 
as  they  may  be  already  known  to  the  applicant,  should  be  set  forth. 


Co-operative  Search  of  Depositions.  — The  results  of 
this  search  have  been  satisfactory  to  subscribers  ;  while  only 
a  very  few  had  no  references  to  the  name  in  which  they  were 
interested,  the  majority  received  a  very  good  report,  the  average 
number  of  references  lor  each  name  entered  being  S'17. 

In  the  new  search  of  wills,  of  which  full  particulars  appeared 
in  the  last  (July)  number  of  The  Connoisseur,  the  average 
tor  each  name  should  be  considerably  higher.  In  every  case 
the  locality  will  be  given,  and  references  to  place-names  will 
also  be  included  in  this  search. 

Oi.and. — You  will  find  an  account  of  the  murder  of  Thomas 
Oland,  attorney,  in  the  Political  Slate  of  Great  Britain,  by 
A.  Bayer  and  others.  There  was  another  Thomas  Oland,  an 
attorney,  of  Marshfield,  who  died  10th  April,  1759.  (See 
Gentleman's  Magazine,    1759,   p.    194.) 

There  was  a  family  of  Oland  in  Devonshire.  A  Robert  Oland, 
son  of  Robert  Oland,  ol  Uffculme,  matriculated  at  Lincoln 
College,  Oxford,  in  1623,  aged  19.  He  was  afterwards  rector 
of  Exeter  St.  Paul,  and  of  All  Hallows-on-the-Walls,  Exeter. 

Harpham.  —  Confirmation  of  the  arms  of  this  family  was 
granted  to  Alice  Harpham,  daughter  and  heiress  of  Walter  Har- 
pham, of  Marsh  Chapel,  co.  Lincoln,  gentleman,  but  originally 
descended  out  of  Northumberland,  and  wife  of  Thomas  Philips, 
of  co.  Lincoln,  esquire,  the  24th  March,  1626.  The  arms  are, 
however,  not  given  in  the  MS.  in  the  British  Museum  (Add. 
MS.  12,225).  Burke  gives  the  arms  of  this  family,  described  as 
of  North  Chapel,  as  Gu.  a  mullet  ar.  between  three  fleur-de-lis, 
or.  Thomas  Philips,  above-mentioned  bore  :  Az.  a  chev.  be- 
tween three  doves  arg.    Crest. — A  demi-griffin  (colours  not  given). 


There  was  another  family  ot  the  name  settled  at  Marfleet, 
co.  York,  who  obtained  a  confirmation  of  their  arms  9th  July, 
1657,  viz.,  Sa.   a  harp  ar.  stringed,  or. 

Arms. — The  arms  you  describe  are  those  of  Smith,  of  Charl- 
ton, in  Fenton,  co.  Devon  ;  they  were  confirmed  to  Humphrey 
Smith  in  1 574.  The  proper  description  is  as  follows  : — Arg.  a 
chev.  between  three  eagles  displ.  sa.  The  crest  is  :  On  a  staff 
ragulee  fessways  proper  an  eagle  closed  regard,  of  the  same, 
beak  and  legs  or. 

The  following  descent  may  be  of  interest  :  — 


....  Gore,  of  = 
Woodbury,  co.  j 
Devon. 

Henry  Whiting,  of  = 
Flaxton,  in  Ottery 
S.  Mary,  co.  Devon. 


Maude. 


I 


John  Smith,  of  Cullompton,  =  Ellen,  daughter  and 
co.     Devon ;    died    before   |       heiress. 
15S3- 


Humphrey  Smith. 

Michael  Silev. — Administration  of  the  goods,  etc.,  ol 
Michael  Siley,  of  Tenterden,  co.  Kent,  who  died  at  Rye,  was 
granted  to  his  brother,  John  Siley,  in  March,  1563,  but  was 
revoked  by  sentence  12th  February,  1563-4,  and  a  will  proved. 


Registered  for  transmission  to  Canada  at  Magazine  Post  Rates.  Printed  by  Bemrose  &  Sons  Ltd.,  4  Snow  Hill.  London.  E.C..  and 
Derby  and  published  by  the  Proprietors.  Otto  Ltd.,  at  HANOVER  BUILDINGS.  35  to  39  MADDOX  STREET,  LONDON,  W.,  England 
Subscriptions-Inland  16  -.  Foreign  17  -,  to  Canada  14  -,  per  annum.  Published  the  1st  of  each  month.  Published  by  Gordon  &  Gotch. 
in  Australia  and  New  Zealand;  by  The  Central  News  Agency,  in  South  Afnca ;  by  Higginbotham  &  Co..  in  Bombay  and  Calcutta;  and 
by  The  International   News  Co.,    in   U.S.A. 


ltlli 


A    MAGAZINE    FOR     COLLECTORS 

MAY,  1915  ONE  SHILLING  NET  Vol.  XLII.     No.  165 


mm 


DANIELL 

Decorators  and    Furnishers 


By    Special  Appointment 


to   H.M.   The   King 


WAR    PRICES 


Fine  Old  Chippendale  Sideboard, 

vith  Pedestals  and  Urns,  finely  carved  with 

fluted  border  and  patera:. 


fl 


William  and   Mary   Marqueterie  Wardrobe. 
very  finely  inlaid. 


Hl 


A  pair  of  small  Etruscan  shape 
Vases  and  Covers,  marked 
Barr,  Flight  &  Barr.  Worcester, 
marble  ground,  panels  of  painted 
dead  birds,  gilt  handles. 
Height.  71  ins. 


Old    Dome  Top  Sheraton  Cabinet  in 
Satinwnod,  inlaid  border  of  tulip  wood,    etc. 


In  centre. — Old  Crown   Derby  Vase.     Apple  green  ground,  painted  panel, 

Hertford  Castle.     12  ins.  high. 

Sides  of  Centre.—  Pair  Old  Coalport  Vases  and  Covers,  finely  painted  panels  of 

birds  and  flowers,  by  Randall  iV  Cooke.     12  ins.  high. 

Outside.— Pair  Old  Rockingham  Vases.      Blue  and  Gold  and  groups  of  flowers.     8*  ins.  high. 

Small  Old    Derby   Figure.     Coloured  and  Gilt. 


Old  Famille  Verte  Vase  with  carved 
wood  cover  and  stand,   Khang-bi. 


The  ENTIRE  STOCK  has  been  subjected  to  GENUINE  and  EXTENSIVE  REDUCTIONS, 

and  we  venture  to  think  it  would  be  well  w-orth  your  while   to    visit    Our    Galleries   at    the 

earliest  moment.     A  GREAT  OPPORTUNITY  to  purchase. 

42,  44,  46,  Wigmore  Street,  W. 

(OPPOSITE    MESSRS.    DEBENHAM    &    FREERODY'S) 


lrui 


r 


A    MAGAZINE     FOR     COLLECTORS 

JUNE,  1915  ONE  SHILLING  NET  Vol.  XL1I.     No.  1 


BY  JAMES   WARD 


THE      ALPINE      TRAVELLER 


AFTER   J.    NORTHCOTE,    R.A. 


By    Special   Appointment 


DANIELL 

Decorators  and    Furnishers 


to   H.M.  The   Kino 


WAR    PRICES 


A  very  fine  set  of  four  old  Queen  Anne  Chairs 
with  carved  cabriole  legs. 


Old  Chippendale  Table,  fine 
fretwork  border  frieze. 


The  ENTIRE  STOCK  has  been  subjected  to  GENUINE  and  EXTENSIVE  REDUCTIONS, 

and  we  venture  to  think  it  would  be  well  worth  your  while    to    visit    Our    Galleries    at    the 

earliest  moment.     A  GREAT  OPPORTUNITY  t  i  purchase. 

42,  44,  46,  Wigmore  Street,  W. 

(OPPOSITE    MESSRS.    DEBENHAM    &    FREEBODY'S) 


THE 


Em, 


A    MAGAZINE    FOR    COLLECTORS 

JULY,  1915  ONE  SHILLING  NET  Vol.  XLII.    No.  167 


LA    PETITE    FILLE 
AU    CHIEN 


From  the  Engraving 
ev  Louis  Marin 


DANIELL 

Decorators  and    Furnishers 

WAR    PRICES 


By    Special   Appointment 
to   H.M.  The   Kino 


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Fine  Old  Brussels  Tapestry  Verdure,   16th  Century,  size  11  ft.    X    8  ft.  6  ins.         Now  on  view. 


The  ENTIRE  STOCK  has  been  subjected  to  GENUINE  and  EXTENSIVE  REDUCTIONS, 

and  we  venture  to  think  it  would  be  well  worth  your  while   to    visit    Our    Galleries   at   the 

earliest  moment.     A  GREAT  OPPORTUNITY  to  purchase. 

42,  44,  46,  Wigmore  Street,  W. 

(OPPOSITE    MESSRS.    DEBENHAM    &    FREEBODY'S) 


THE 


MK 


' 


A    MAGAZINE    FOR     COLLECTORS 

AUGUST,  1915  ONE  SHILLING  NET  Vol.  XLII.     No.  168 


J 


COFFEE 


FROM    THE    ENGRAVING 

by  Louis  Marin 


DANIELL 

Decorators  and    Furnishers 

WAR    PRICES 


By    Special   Appointment 


to   H.M.  The   Kino 


(See  illustration  of  Tapestry  in  last  month's  Connoisseur.) 

42,  44,  46,  Wigmore  Street,  W. 

(OPPOSITE    MESSRS.    DEBENHAM    &    FREEBODY'S) 


PLEASE  DO  NOT  REMOVE 
SLIPS  FROM  THIS  POCKET 


UNIVERSITY  OF  TORONTO 
LIBRARY 


1      -        *     ■|-Hlli